tue 29

The Price of Stone Suite

comprising :-
1. Kilnsea Sound Mirror
2. Parys Mountain Copper Mine
3. Wayland's Smithy
4. Eilean Munde
5. Merlin's Cave
6. Medlock Culvert
7. The Old Man Of Hoy
8. The Devil's Causeway
9. Grimes Graves
10. Newgrange
11. Puzzlewood
12. Lascaux

Artists :
fencepost - electronics & field recordings
Malady of Knots - piano & field recordings

On the night of Good Friday 2023, I decided to subject the first movement of Giovanni Battista Pergolesi's Stabat Mater (Duetto. Grave: Stabat Mater Dolorosa, edition: Deutsche Grammophon, 1985) to a process of extreme expansion: a gradual slow down – divided into dozens of downpitching and filtering steps – which returned a feeble texture of almost four hours, iwhere digital artifacts - including saturations, phase variations, DC offset and more – move like in a light counterpoint.

In the Catholic liturgy, Stabat Mater is a prayer - or better, a sequence - traditionally attributed to Jacopone da Todi, designed to portray the sufferings of Mary, mother of Jesus, during the crucifixion and the Passion of Christ. From the Middle Ages to the twentieth century  many composers put the prayer in music, but Pergolesi's work is by far the most touching version, reworked - or rather literally plagiarized - even by Johann Sebastian Bach.

It's a composition that generally accompanies the Mass and the rites of Good Friday, but Dolorosa was premiered during Easter 2023 on Fango Radio (IT), playing on a loop for 24 hours, in an attempt to stretch our sorrow also during the day of the Resurrection.


Mauro Diciocia works in the field of electroacoustic music, combining traditional musique concrète, modern noise-music and soundscape composition. His sound aesthetic is an object in perpetual motion in which the only constant element is represented by the use of field recordings/found footage manipulated through magnetic tapes and digital processes.

He performed extensively in Europe (Germany, Sweden, Poland, Portugal, Spain, Italy, Belgium, France, Switzerland) and released his music on various labels on CD, LP and cassette (until 2019, under the name torba). Mauro is co-founder and curator for Aaltra, a cultural container based in Lecce (IT) dedicated to adventurous sound languages.

https://mauro-diciocia.tumblr.com
https://maurodiciocia.bandcamp.com
https://soundcloud.com/torba

Experimenting with methods of sonic interpolation, sound artist and musician SHHE presents new work in response to the critical water crisis in Iraq. Constructed using recordings from Dokan Dam - the site of one of the largest hydroelectric power plants in Iraq - the composition charts the in/out-flow of water at the dam over the last 40 years, using sonification to signify periods of flood and drought.
With alarming water shortages in Iraq reported each year and within a complex hydro-political landscape, the work seeks a balance between stability and unpredictability, posing the question; When water no longer flows ¬– will it still sound?
 
Created during a residency in Kurdistan-Iraq in April 2023 and first presented at Erbil Citadel as part of In Between Land and Water exhibition, supported by British Council Iraq.
 

SHHE is the alias of Scottish-Portuguese sound artist, musician and producer, Su Shaw.
Her artistic practice is influenced by environment and ecology, exploring themes of identity and connection at the intersection between sound, space and liminal states.
SHHE’s eponymous debut album was released by One Little Independent Records. Sound works, performances and installations have been presented at V&A Dundee co-commissioned by MSCTY Tokyo, Summerhall, Cryptic Nights/CCA (Scotland), HANGAR (Lisbon, PT), Rawabet (Cairo, EG), Jesuit Cultural Centre (Alexandria, EG), Tankur/Westfjords Residency (IS), Erbil Citadel (IQ) and BFI and Sensoria’s FAMLAB (digital)

Instagram @shhemusic
http://www.shhemusic.com

ANNA FRIZ (Santa Cruz, CA)•AUGUST BLACK (Boulder, CO)•JEFF ECONOMY (Kingston, NY)•MAXIMILIAN GOLDFARBconductor (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/

There is a little window, in the attic of a Dalmatian villa from the early middle ages, overlooking the dreamy cascade landscape of downtown Dubrovnik. 


 
It's early June, 8 am. A melody of old Mediterranean terracotta roofs plunging into each other is nursing a soft morning light. The polyphony of ages embedded in the stone makes the town glow from its neutron core. No corners are mislaid, and the fortress is keeping us safe. 


 
The window is slightly recessed, almost on the corner with Stradun, and a person with fine jumping skills could easily reach the roof of the church across the narrow street. It's Sunday, and the bells from the various towers across town are spilling their gongs. 


 
I needed to sleep a bit more. But the grinding machinery of tourism has its own agenda. Savagely squeaking swallows and the morning congregations of seagulls sound like a pastorale compared to the town’s growling bowels. Air conditioning units, pumps, kitchen ventilation, garbage trucks, delivery vehicles, wheels, and trolleys of all sorts. I could not help but be fascinated by how a landscape of such beaming beauty can exist in this hideous soundscape. 


 
In all of its ugliness, the soundscape of Dubrovnik still hides so much contemporaneity. The large ventilation unit drones are textural and multiphonic. Anarchy in the town’s electrical grid is constantly buzzing from nooks and crevices like some robo-brute. Sounds of the wagons for garbage collection, and the rivers of inbound and outbound suitcases are bouncing over the stone streets like a constant percussive development. I enjoyed it a lot. 


 
But perhaps we should give it a second thought. The noise in which certain Mediterranean architectural marvels are soaked due to uncontrolled mass tourism is a “silent” killer. Of the environment, and of the local culture and dignity. 


 
I stepped out of the building that morning, and straight in front of my nose on the neighbour’s door, there was a sign: 


 
PLEASE KEEP SILENT. 
 
Manja Ristić is a violinist, sound artist, poet, curator and researcher active in the fields of electroacoustic and classical music, instrumental improvisation and experimental sound art. Her work blends intuitive composition and field recording practices while focusing on interdisciplinary approaches to acousmatic forms, radio art, and acoustic ecology. Manja Ristić currently works and lives on the island of Korčula, Croatia.

http://manjaristic.blogspot.com
https://manjaristic.bandcamp.com

1) Timo Kahlen - Firewall (1:00) 2) Katie Revell - Does a cow know? (9:18) 3) Mary Hooper - Aulus Les Bains Resonance (7:19) 4) Gregory Kramer - The Hungry Bridge (10:06) 5) Samantha Hodder - What Do The Waves Tell You? (7:37) 6) Marianne Sice - Together (5:35) 7) Rui Almeida and Nuno Miranda Ribeiro feat. Derrick Lambert - The land of broken time (3:38) 8) Ariel Mioduser - Icarus (3:20)  9) Alistair Zaldua & Lauren Redhead - dreisam (2:13) 10) Loud Reading Group - Composing with tape recorders (7:19)

1) Timo Kahlen - Firewall

‚Breaking news’ and the latest ‚buzz’ spark up, ignite, and flare or fade. Buzz created, posted and re-posted, buoyant or sinking, lingering or fading from our attention, in rapid succession - as (social) media ‚open‘ or ‚close doors‘ on new content, ideas and emotions.
TimoKahlen (timo-kahlen.de)

2) Katie Revell - Does a cow know?

What does it mean to listen with our whole bodies? How could listening differently expand our understanding of language, and of who (and what) is capable of “speech”?

Samar Nasrullah Khan’s History and Philosophy of Science Master's thesis is titled “Listening, with dairy cows”. During fieldwork at dairy farms in the Netherlands, Samar was surprised to find themselves involved in the cows’ conversations. They set out to philosophically investigate how this was possible, and what it means for our relationship to agricultural animals and to land.
This piece provides a glimpse into Samar’s experience of listening, with dairy cows. Katie first came across Samar's work at the 2023 Oxford Real Farming Conference, where they were part of a talk titled “Cattle as translators of the land”. Excerpts from their ORFC presentation are included in this piece.  This was originally produced for Short Cuts, a Falling Tree production for BBC Radio 4.     http://www.katierevell.com/             https://spokentwice.cargo.site/

3) Mary Hooper - Aulus Les Bains Resonance

Sounds - crickets, birds, traffic, voices - mine and Anne Marie Deacy, goat bells, sounds from the forest and mountain environment. I try to pay tribute in a small way in this piece to the many lives squandered in WW11.

On the bend in La croix du Ruisseau, a stele pays tribute to the 640 men, women and children sent to live in Aulus-les-Bains in 1942 and those arrested during the two roundups. The redundant Silver Mine where we made some of the recordings is where some people sought refuge from persecution.

4) Gregory Kramer - The Hungry Bridge

Composed for the Site Specific Workshop at Klankenbos Sound Forest, Belgium, this piece was installed under a bridge. Combining digestion sounds with recordings of the bridge itself, it takes the story of The Three Billygoats Gruff as muse and imagines the bridge as the troll.  http://www.gregorykramerstudio.com   I

5) Samantha Hodder - What Do The Waves Tell You?

Stand next to me, on a ship, in the frozen waters of Antarctica. Listen to the water. Look up at the sky. Feel the salt on your lips. These waves and this ancient water have stories to share. Recorded while embedded as a storyteller on the second Homeward Bound Journey to Antarctica, on the MV Ushuaia, in 2018

Samantha Hodder is an award-winning audio producer and writer. based in Toronto, Canada. Her storytelling podcast, This Is Our Time, follows her journey to Antarctica aboard a ship of 80 women scientists. She writes a weekly newsletter about narrative podcasts: https://bingeworthy.substack.com/about

6) Marianne Sice - Together

'Together' is a short EP consisting of a series of exercises of limitation (each track about a minute long, created using only one field recorded sound which has then been manipulated).
The tracks are titled: Birds are coming, Eagle, Aeroplane, Going along and Firework. The EP could be  described as "findings from within an industrial Newcastle, reflecting an undercurrent of what's unsettled in the world" (created October 2022). These tracks are best heard through headphones. I attach a trigger warning as there are some sounds (i.e. in aeroplane and firework)may be reminiscent to some of sounds used in warfare.

Marianne Sice is a musician, interdisciplinary artist, actress and writer from North East England. With a background in a multiplicity of different art forms she began fusing her musical, visual and digital practices during her Masters in Creative Arts Practice at Newcastle University (2019-2021). Her current research and artwork focuses around the embodied experience of trauma through a female lens.     http://www.mazartmusik.com              Instagram: @pearlmae.artist

7) Rui Almeida and Nuno Miranda Ribeiro feat. Derrick Lambert - The land of broken time

In the land of broken time, people sat by the road to look at watches, with a serious look on their faces, scrutinizing something of uncertain urgency.

Time itself didn't always move, and didn't always move forward. People, specially busy people, moved around slowly, as if executing a drill or an unknown set of difficult instructions.

Unhurried, they would monitor the watch pointer that usually moved faster, to see if seconds accelerated, decelerated or stuttered in an arrhythmic dance that would never complete the circle.

In the land of broken time, people felt time’s attrition all around them. They saw, by the corner of their eye, a leaf that would not announce Autumn yet but would fall upwards, back up to the tree, before touching the ground.

Or they would listen to the sound of a bell, strangely repeated back and forth, like the echo of a mountain that would gulp several times. Before going their way, those who sat by the road would breathe in and out, in the manner of someone immerse in an observation ritual.

In the land of broken time, people would always wait for time to start moving again, after a few jolts. Waiting was a way of moving, tentatively. No one really knew when everyone was living.

Some would even say that living was like that, being present was like that: you could only ever aim to be a good custodian of time’s mischiefs.

“Somewhen” between regressing a bit to the past and going back to the future once more, if watchful and mindful of everything, you would find that fleeting place called present.

(Text by Nuno Miranda Ribeiro)

https://ranmr.bandcamp.com
https://massaultima.bandcamp.com/music
https://vaalb.org

8) Ariel Mioduser - Icarus

A hypnotic and meditative journey, made of a very slow harmonic progression. At a certain point, a far away melody is heard as if waking up, until a sudden burst calls back from the trance-like state.

https://arielmio4.wixsite.com/website    

9) Alistair Zaldua & Lauren Redhead -  dreisam

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.
http://www.alistair-zaldua.de        https://laurenredhead.eu/

10) Loud Reading Group - Composing with tape recorders

RADICAL MURMUR - A Sonic Exploration in Three Parts
 
We live in a media era that is dominated by image and language, yet sound often seems less important. In Radical Murmur TRASHLINIE dives into the possibilities of the sonic dimension. In this triptych we meet thinkers, sound artists and composers who, in very different ways, take sound as their starting point. With them we try to learn to listen with new ears. How can "sonic sensibility", to echo a term used by one of the interviewees, raise our awareness of the complexity and polyphony of society? What can sound tell us about our position in the world and our relationship with our fellow human beings or with nature? How does change, or loss, sound? Radical Murmur consists of three episodes: The Sonic City, Resonances of Loss and Reflections amidst the Noise. With the collaboration of Justin Bennett, Evelien van den Broek, Peter Cusack, Mint Park, Davide Tidoni and Salomé Voegelin.

Radical Murmur - Episode 2 - Resonances of Loss

In this episode, we listen to the sighing and groaning of a tired planet. In composer Evelien van den Broek’s music, we hear field recordings of animals that no longer exist. This is how she tries to make the current “biological destruction” palpable. Peter Cusack travelled to Chernobyl and other ecological disaster zones as a “sonic journalist”. What do places we know from the news but that we have never ‘heard’, sound like? And philosopher Salomé Voegelin reflects on how the COVID-19 crisis threw us back on ourselves, threatening to evaporate the sonic “in-between” between people. “There is no inner genius, there is only an outer connection.”

BIO 
 
TRASHLINIE is the heading under which we, a sound artist/radio maker (Sjoerd Leijten) and an architectural historian/publicist (Roel Griffioen), have been making podcasts and audio projects since 2019. With TRASHLINIE we are interested in evoking a sense of space through sound. Interviews are typically conducted on location; this means that street noise and spontaneous encounters are included in the montage. The soundscape of any street can reveal a lot about the acoustic dimensions and atmosphere of a place, and even abstract and gradually unfolding processes like gentrification, segregation or ecological degradation can be audible, or at least have an effect on the sound profile of a place.  
 
http://www.trashlinie.org

 

 

Members of Shortwave Collective search for radio reception (via homemade radios, EMF, VLF, VHF scanners and other radio devices) from listening sites connecting environments, technologies and voices. ‘Constellations of Listening’ draws on material sourced over many months and across time zones. By listening over time, we notice the atmospheric and environmental influences on radio reception. We think of these and other radio devices in-situ as part of a larger constellation of bodies, materiality, and connection experienced through listening.

Shortwave Collective is an international group of 10 people interested in feminist practices and the radio spectrum. Formed in 2020, we work in a DIY way and bring an inclusive approach to our radio learning and creating, aiming to share our knowledge with others through creative practice. Our current members live in northern, central, and southern Europe, the west coast of the USA, and the Middle East. Thus, our practice consists of a great deal of online exchange of knowledge and research as well as hands on performances, workshops, and collective compositions.

Website: https://www.shortwavecollective.net/
E-mail: shortwavecollective@gmail.com
Twitter: @SWaveCollective
Instagram: @shortwavecollective
Mastadon: https://mstdn.social/@ShortwaveCollective

Traffic is moving freely along the M8, clotting up after the A720. There’s a capsized vehicle in a ditch following an incident with two contradictory bicycles. We’re hearing reports of a collision, some photographers, and prosthetics near the overpass. The cars hiss by my window; the highway’s jammed. We have the fast track on movement, circulation, and vectors. Tune in for the latest travel updates and motor news, for all that flow.

Melissa McCarthy’s next book, Photo, Phyto, Proto, Nitro, is published by Sagging Meniscus in November 2023. Sharks, Death, Surfers: An Illustrated Companion, from Sternberg Press, came out in 2019. She lives in Edinburgh and writes about art, literature, and sharks.
http://sharksillustrated.org

"You might call it the art of the controlled accident."
― Alan Watts

October 2022, Elevators, France, UK, Germany

Since the ups and downs are part of everyday life, we could let the attention rise for a journey perpendicular to the void and the full. In stages, let the sounds come out of their shaft and enter the bodies. Dazzling ascents or vertiginous falls, here you fall out from under like you fall in love: upwards. We’ll let you get high and call it an elevator to the scar folder.

For its tenth season of podcasts, Phaune Radio transports you to the joy of a mutating reality where space-time could well expand. Rarely one-way voice, sense of disorientation and just passing frequencies… Don’t miss the connections!

[Huge thanks to Mark Watts and the Alan Watts Organization for their support!]
 
https://soundcloud.com/phaune-radio/comute-2 (English Speaking)
Transcript / translation: https://phauneradio.com/media/transcript/Comute_transcript-translation_episode_2.pdf

1) Jasna Velickovic - potemkin[vs]matter (3:34)
 
2) Lee Patterson - Nine Lucifers (2:05) from 'Seven Vignettes'
 
3) Jasmina Al-Qaisi - Forgetting Remembering (from 'leaning (on) paranthesis') (1:47)
 
4) Johnny Dixon - PenintaMES - 2 (3:02)



The new ‘PenintaMES’ form takes 50 lines of Mark E Smith’s lyrics from his songs with The Fall group.  

Although clearly derived from the Cento form, invented to give new and abstract life to Homer’s verse, the PenintaMES is a new poetic form specifically and specially invented for Radiophrenia 2023 to play a little with Mark E Smith’s words.  

Lines were selected using the FallFriday hashtag on the now defunct Twitter app. Any single quoted line or, if more than one line was quoted then the first or middle line, was used. If no lines were quoted in the tweet a quick glance at the whole song lyrics was enough to take a single line.  

A debt of gratitude is owed to The Annotated Fall website for compiling the complete lyrics, and to everyone who has ever tweeted using the FallFriday hashtag. And of course to MES for the endless diversions his work provides. 

An acousmatic composition.

A note from Valerio Tricoli:

Among the alleys of Palermo – the city where I was born – fragility, poignancy and beauty intersect in a unique way. The ruins of civilization, stabbed in the bowels of an earth that burns mysteriously, stand as asynchronous reminders of a history of art, and violence.

They are also the ruins of someone’s adolescence, and of love stories stolen in soundproof rooms, while someone died of cancer just beyond the wall.

On the shoreline, overshadowed by the hollowed-out rock of Palaeolithic caverns, the dried, elongated, black seaweed are fragments of magnetic tape, talking to those who are malicious enough to hear.

At funerals one cries, it is certain, in Palermo one cries much more, despite everything. So that emotions can more intensely dig indelible furrows in the mind, and be elevated to the purest philosophy, and the explosions become discourse.

I made this track in the spring of 2023, manipulating the sounds, music, voices, directly on analogue tape.

Valerio Tricoli (Palermo, 1977) is a composer and performer of electro-acoustic music, currently residing in Munich.

Since the mid ’00 is main instruments for live presentations is the Revox B77 reel-to-reel tape recorder, used as a completely analogue device for live sampling and real-time transformation / editing / mixing of prerecorded (field or studio recordings) and made-on-the-spot sound sources, the latter usually being vocalizations (including speech and singing), acoustic and electronic instruments, objects, and – in the case of group sets – whatever is produced by the fellow musicians.

On a formal level his sets focus on the impromptu creation of a narrative which takes into account the multiple relations intervening between reality, virtuality and memory during the acoustic event: sounds are always hovering between the “here and now” of the concert situation and the shady domain of memory – distant but at the same time present like in a deja-vu experience. Privileging fracture over continuity and by the use of a dynamic range that could often jump suddenly from near-silence to extreme blasts of sounds, an almost tactile feeling of brooding tension is often attained.

His electro-acoustic studio compositions are aligned to the tradition of Musique Concrète and explore themes of the internal – represented both by the psychological and the physical – and of the occult, which together with the large use of spoken text makes them often deeply existential works, self-investigations of the psychological, emotional and irrational horror within.

https://valeriotricoli.bandcamp.com/music

Conceived as a soundwalk, this sound work explores the traditions and ecology of Uist’s machair. A Gaelic word meaning fertile, low-lying grassy plain, machair is one of Europe's rarest yet most species-rich habitats; only occurring on the exposed west-facing shores of Scotland and Ireland, 70% of which is found on Uist. Generations of low-intensity farming have shaped this unique landscape and encouraged wildlife over millennia. Developed in partnership with the local community, this work combines spoken narratives, field recordings, and compositions with archival sound recordings from Edinburgh University’s School of Scottish Studies, that chart over 70-years of living tradition.

Duncan MacLeod is a composer and sound artist whose practice utilises acoustic and digital forces. His output encompasses concert music, participatory arts and interdisciplinary practice that draws inspiration from a diverse range of sources encompassing art, folklore, acoustic ecology and socio-political issues. His work has been professionally commissioned, commercially recorded and broadcast internationally by various ensembles and soloists at notable venues and festivals. Upcoming commissions include a work for clarinettist Sarah Watts, and a series of electroacoustic soundwalks for Taigh Chearsabhagh Museum & Arts Centre, North Uist. Duncan is currently Associate Professor in Music Composition at the University of Nottingham.

Duncan MacLeod

1 - Sara Maino  - Cafè Europa (14:41)
2 - TaQuid - Touchy Feely (2:54)
3 - Ash Walker (Relevant Elephants) - The Certainty of An Uncertain Future (3:35)
4 - João Pedro Oliveira - Neshamah (11:28)
5 - Laird Lee Kirk - Drones (4:29)
6 - Pelayo Del Villar Flores - [in]comunicado (5:07)
7 - Michael Kelly - Compiled journal of Timothy Yod, chrononaut (15:44)

1 - Sara Maino  - Cafè Europa

Editing and direction Sara Maino
Poems and Voices by Sara Maino and Marina Kazakova
Soundscapes recorded by Sara Maino all around Europe
Sound effects from the free archive of BBC Rewind
Traditional Music played on a radio (Katioucha Otchi Tchornye performed by Sirba Octet)

Two characters (Europa and the East-Comer) meet in a café in an unknown city.
They confess their visions, feelings and memories to each other, giving the sense to seemingly solipsistic monologues.

Supported by Research Foundation Flanders and LUCA School of Arts/KU Leuven
Premiered at Festival internazionale di poesia Palabra en el mundo di Venezia 2023

Sara Maino (b. Arco, Italy, 1970) is an Italian audio-visual artist, poet and performer, film and theatre director and a community-engaged researcher. She studied Literature and Philosophy at the University of Trento and undertook a non-formal education in theatre, cinema, art. She’s studying Philosophy at the University of Trento. She worked for Rai Radiotelevisione Italiana as an author and multimedia expert and curated two radio programs on poetry and collective memories. As an educator she works with Italian and Belgian schools, museums, associations. Her research is focused on sounds and field recording, on the memory's collection of local communities, on storytelling. Her goal is to develop the awareness of active listening, being also inspired by the research on soundscape’s studies.
She’s the author of theatrical shows and multimedia poetry performances. She has performed at literary festivals, events, to art galleries in Italy and in London, Norway, Greece, Lithuania, Bosnia, Ireland, in the Netherlands, Bulgaria, South Korea.  
She won the art national contest “Brocche 2.0” with her sound installation in 2013. Her audiovisual installations, films and paintings have been shown in solo and collective exhibitions in Italian museums and galleries, in Germany and Belgium.

http://www.saramaino.it

2 - TaQuid - Touchy Feely

TaQuid is a duo of live electronic improvisors created in 2022. The duo live on different sides of Ireland and use technologies to remotely ideate compositions and improvisation strategies. When the group meet, they use touch interfaces and tactile electronic instrumentation to dismiss the geographical distances between them and present their compositions. Touchy Feely is their first recorded improvisation.

3 - Relevant Elephants - The Certainty of An Uncertain Future

An unnamed virus has left the city virtually deserted. The local park is empty apart from a solitary figure doing laps and a plastic bag blowing in the breeze. Meanwhile a musician  bunkers down in a solitude of tortured synths, wondering who will be left alive to listen to his next album.  This spoken word piece is based on the unnerving isolation of COVID lockdown when there was no choice but to embrace the certainty of an uncertain future

Ash Walker AKA Relevant Elephants is a producer and sound designer from Sydney Australia. This Piece is from his third album of Techno, Electronica and Glitch Disaster proof. Ash has also done sound design for several Sydney Theatre Companies including Australian Theatre for young People. The work is voiced by Jay Katz a Legend of the Sydney Cult Film and underground music scene who holds Regular cult film nights.

Disaster Proof album on Spotify https://open.spotify.com/album/1OTtrDNXET0nkAoanAoysI

https://relevantelephants.bandcamp.com/

4 -  João Pedro Oliveira - Neshamah

This work is part of a cycle of four works related to representations of the four elements in the Old Testament. Neshamah means “breath” and is related to the following passage:
“then the Lord God formed the man of dust from the ground and breathed into his nostrils the breath of life, and the man became a living creature” (Genesis 2:7)

This piece was commissioned by the Ibermúsicas Project and was composed at the Centro Mexicano para la Música y las Artes Sonoras.

Composer João Pedro Oliveira holds the Corwin Endowed Chair in Composition for the University of California at Santa Barbara. He studied organ performance, composition, and architecture in Lisbon. He completed a Ph.D. in Music at the University of New York at Stony Brook. He has received over 70 international prizes and awards for his works, including the prestigious Guggenheim Fellowship in 2023, the Bourges Magisterium Prize, and the Giga-Hertz Special Award among others. His music is played all over the world. His publications include several articles in journals and a book on 20th century music theory.
http://www.jpoliveira.com

5 - Laird Lee Kirk  - Drones

This transmission sent is a collection of readings stitched together with electronic drones that have been cannibalised from my own sound works from the past, pitched down so a beautiful mutation occurs and becomes an overlay to a world that doesn't exist as the voice in each story narrates a time and place that did exist.

Laird Lee Kirk is a Laird of one square-foot centimetre grassland somewhere in Scotland.
He/him/who is a writer/poet/scribe/drone creating portholes into ambient geographies of hazy broken human experiences sandwiched together like chalked black billboards.

https://www.instagram.com/lairdleekirk/

6 - Pelayo Del Villar Flores - [in]comunicado

The intercommunication system in the XXI century keeps us in an eternal maelstrom by interconnecting us all the time.  Mobile communications, the internet, Whatsapp, video calls, and social networks allow us to even speak about a possible ubiquity but, consequently, silence now has become practically impossible.  

7 - Michael Kelly - Compiled journal of Timothy Yod, chrononaut

Timothy Yod is a Chrononaut from the year 2234. This is a compilation of his Yodcast which, following a different theme each week, describes what living in your future world will be like. He knows, for he is of then. This is not a joke. Anyone who says otherwise is your enemy.

To you, he is known as Michael Kelly. Michael (he/they) is a design research student at Glasgow School of Art (portfolio https://michaelandrewkelly.weebly.com/). Yodcast is an ongoing project, about to enter its third podcast iteration at https://podcasts.apple.com/gb/podcast/yodcast-journals-of-timothy-yod-man-from-the-future/id1519514058 - as well as an immanent graphic novel.

GOMERA (22:30)

La Gomera is the second-smallest of the main Canary Islands. Europe’s oldest primeval temperate rainforest lies in its mountainous centre, forming Garajonay National Park. Evergreen laurel trees, ferns, moss and lichens populate the humid and foggy mountaintops, its soils continually watered through “horizontal rain.” A sonic singularity heard in La Gomera is “el silbo gomero,” the language of whistles developed by its human inhabitants to communicate across the island’s deep ravines and narrow valleys.
 
CANARIAS SOUNDWALK explores the sonic ecologies of the Canary Islands archipelago, presenting seven compositions for headphone listening created with environmental sound materials from each of the seven main islands: El Hierro, La Gomera, La Palma, Tenerife, Gran Canaria, Fuerteventura, and Lanzarote.

The project investigates the vitality of more-than-human entities and realities, aiming to promote less anthropocentric ways of being and thinking. Through different listening strategies and audio technologies, the work concentrates on what usually remains hidden or unnoticed, on the limits and thresholds of perception and attention. The project focuses on the voices and audible presence of animal and plant species, air, soil, water, weather, and landscape formations. Furthermore, it acknowledges the affective power of sounds themselves. This project embraces listening as a creative act, a form of attention, and a tool to investigate the world. It attempts to cultivate intimate sensory encounters favouring affectivity over signification and representation.

The project was originally commissioned by the Cultural Office of the Embassy of Spain in the US as a permanent public invisible artwork available at multiple locations in Washington, DC. Additional support from the Arts Council of Northern Ireland (ACNI), the Swedish Arts Grants Committee (Konstnärsnämnden) and the Visby International Centre for Composers (VICC). Fieldwork and production assistance: Palma E. Christian Martínez. Special thanks to Garajonay National Park, Teide National Park, and Timanfaya National Park.

http://pablosanz.info
https://pablosanz.bandcamp.com
https://soundcloud.com/pablosanz
https://www.instagram.com/pabloooosanz/
https://www.facebook.com/pablooosanz

"Scenes from a Window" is a piece based on a text and score by the artist Mitko Mitkov (alias Dialog mit der Jugend). "Scenes from a Window" is a musique concrète piece for three musicians and a narrator and consists of four co-related parts. The piece was recorded by Rui Hernan Campos, Jonas Hinnerkort, Hye-Eun Kim and Sebastian Kokus following a graphic score and directions made by the artist. The outcome is just one of many possible interpretations. The score was nevertheless written with the musicians of this recording in mind.
 
Mitko Mitkov (b. 1989, Ruse, Bulgaria) is a multidisciplinary artist living and working in Hamburg, Germany. His work gravitates around translating (non-)verbal ideas and concepts into appropriate forms and can vary from printing experiments through sound-based pieces to fluid social constructs. He releases sound-based works under the name Dialog mit der Jugend and is founder of the platform Bad Boy Jesus Tape Club that navigates between contemporary music and experimental sound pieces.

https://bbjtc.bandcamp.com/album/scenes-from-a-window

Thinking about a way to celebrate Alvin Lucier's 90th birthday on May 14, 2021, I realised that this birthday was still going to take place during the Covid-19 pandemic. Since the beginning of the pandemic, I had repeatedly been struck by how much Lucier's iconic phrase 'I am sitting in a room different from the one you are in now' summed up the situation in which so many of us around the world have found themselves since staying home and reducing contacts have become necessary to counter the spreading of the virus. Ironically, the tools we have been using to communicate between our separate rooms have a tendency to turn our speech into artefacts like the room acoustics in 'I Am Sitting In A Room', but usually not in such a beautiful, meditative way that frees language from the burden of meaning, but in a way that tends to impede meaningful communication in an unwanted way. Still, the processual approach Lucier utilised in this, his most famous piece, seemed like the perfect formula for an experiment to test the limitations, both acoustic-technological as well as social, that the virus has forced upon us. But how could this result in a celebration of Lucier, when it was clear from the outset that whatever the result would sound like, it would by no means even come close to the sheer perfection of 'I Am Sitting In A Room,' one of the most sonically and conceptually beautiful creations of the 20th century? Was it legitimate to soil the timeless beauty of Lucier's music and ideas, based as it is on laws of nature, with the mud of the pandemic that we're trying to muddle through as both artists and social beings? Certainly, the merits of Lucier's work lie elsewhere than in social commentary, and wouldn't diverting his ideas for such a purpose almost amount to abusing his work?

Like many working in the sonic arts around the globe today, I owe more to Alvin Lucier in terms of inspiration than to almost anyone else. But after all, the best tribute to people who have inspired you is not to imitate them, but to use the ideas they have given you to create something new and different. What is more, the above account of Lucier's varied work is a bit reductive. It's not just about physics! From earlier pieces like North American Time Capsule and (Hartford) Memory Space to Carbon Copies, the way we remember sounds from our urban (and that always means: social) environments and relate them to our sound-making practices has been a continuous concern in his work. (The 'noisy' character of our piece harks back to the beginnings of Lucier's career, before 'I Am Sitting In A Room' and the subsequent focus on audible beatings – compare the composer's own 1967 realisation of North American Time Capsule on the album Vespers and Other Early Works.)

The relationship between recording and (instrumentally) re-creating sounds that is at the core of (Hartford) Memory Space and Carbon Copies is also what interests recorder player Elisabeth Haselberger and myself, as a field recordist, in our duo work as Recorder Recorder. For our tribute to Alvin Lucier in times of the Covid-19 pandemic, we chose to make 'field' recordings of our apartments in Ulm and Augsburg which have become our main 'fields' of action during the lockdown phases of the pandemic, and then re-create these recordings with our instruments in the manner of Lucier's Carbon Copies, Elisabeth on the Paetzold contrabass recorder and me on no-input mixers. Together with a text in German and English inspired by 'I Am Sitting in a Room', the field recording and the instrumental part form our respective inputs, which open the piece.

As in the model we are paying tribute to, the piece itself performs the process the text describes. This can also be referred to the fact that 'Corona communication' is much more self-referential than other forms of communication due to the constant need for using uncommon, often limited, technologies. ('Can you see me now?' - 'We can't hear you.' - 'I'll try again.' - 'Should we switch to a different platform?' - 'When the 40 minutes are over, I'll send you a new link.')

We then played and recorded these inputs (consisting of text, field recording, and instrument) via Skype, Wonder.me, Facebook Live, Jitsi, Zoom, mobile phone, and then twice (there and back again) via the good old landline telephone. This recording process couldn't have been performed by one person alone, so in spite of all the distance and delays inscribed into the piece that remove it very much from a performance with live interaction between musicians, it is still very much a duo piece due to its inherently collaborative character. All artefacts occurring during the process, including electromagnetic interference and incoming calls on the mobile phone, became part of the process. Each iteration of Elisabeth's input is marked by the sample 'wieder und wieder / again and again' (her voice comes first), the iterations of my input are introduced by 'again and again / wieder und wieder' (my voice comes first). In a marked difference to Lucier's approach, the material from the individual iterations is selected based on compositional decisions that have to do with musical timing, but might also be related to the 'atmosphere' or 'feel' of the pandemic. Based on this as well as on the material used, the piece could also be called Augsburg/Ulm Memory Space or Pandemic Time Capsule, because it tries to capture how it felt (and what it sounded like) to work over distance out of the involuntary isolation of the pandemic. Radio, as the first 'remote presence' medium in history, provides the ideal framework for exploring this new situation we're finding ourselves in. After all, radio has always been about that space between intimacy and distance, signal and noise, that we're now grappling with in newer media.
 
Gerald Fiebig

The basis of this work is a series of improvisations with live radio static, created while in residence at ACRE in northwestern Wisconsin. ACRE is situated outside of Steuben, WI, an area rural enough that pockets of it get little to no radio signal. Instead, the FM signal offers a rich and varied palette of drones, percussive stutters and pops, prompting the ear to invent myriad sonic architecture: harmonies, melodies, landscapes. Though these radio improvisations could stand on their own as musical objects, here they serve as scores or guides for further response. This work is a collection of four of these responses, utilising synthesiser, cello, voice, and processed field recordings. Lia Kohl is a cellist, composer, and sound artist based in Chicago. Her wide-ranging practice includes solo composition and performance, installation, improvisation, and collaboration. She tours nationally and internationally, working in theater, jazz, rock, and experimental contexts. Her work centers curiosity and patience, an exploration of the mundane and profound possibilities of sound. Liairenekohl.com

Sound compositions made by the artists invited for the 4th edition of SONIC FUTURE RESIDENCIES organized by SEMI SILENT, and that took place in the village Port Cetate, Romania, on the border of the Danube, in September 2022.

Artistic director: Anamaria Pravicencu

http://semisilent.ro

Using the shore of the Danube in Port Cetate, Dolj as a whole orchestra of sounding and resonating matter, Jasmina Al-Qaisi and Veronika Svobodová make audible an everlasting ludic space of poetry. This geography, where they compose is marked by drought, wetness, scarcity, wealth, silence, noise which in permanent relation with the multiple legends about fountains, ghosts, forests, allows a multi-sensual reading of the space beyond binaries. While ‘swinging dry water’ the two artists played with a blur of polarities of time, space, materiality and perception, verbalised and sounded a multilingual text in the forest, on the water, in empty fountains and in their heads.

Sound piece composed with recordings made during Sonic Futures Residencies in Port Cetate (Romania), a program by SEMI SILENT, and premiered in R{A}DIO{CUSTICA}, Czech Radio Vltava.

Veronika Svobodová is an artist, musician, and scenographer. Her approach to work with sound reveals her relation to stage design, art of installation and performance. In her work she connects the aspects of space, time, and situation, often it is a response to specific places in the landscape or architecture.

Jasmina Al-Qaisi is a writer for voice and paper appearing sometimes in other forms such as a walking scientist, the schnelle musikalische hilfe service, or as the only agent for the self-entitled-self-entitlement-office. Jasmina is as well listening with her hands and makes waves on free, independent, temporary, mobile radios and public radios writing with sound.

https://jasminescu.com/

1) Lee Patterson - Springwork No.3 (2:19) from 'Seven Vignettes'
 
2) Jasna Velickovic - remote_backgrounds_I (4:02)



3) Jasmina Al-Qaisi - Hobby (from 'leaning (on) paranthesis') (1:47)

That’s what the bucket is for is the beginnings of a radiophonic fiction by Alison Scott, Becky Šik and Rosie Roberts. The work generates and dissolves an amorphous identity who sifts through data and is transfixed and subsumed by facts, stories and observations. The collaboration is informed by an improvisational ‘scrapbook’ approach to science fiction-making. A fragmentary narrative emerges from intuitive responses to both immediate environments and a rangey lot of matter the trio collected surrounding the theme of orbits. The result is a giddy selection of moving people, places and objects created through spinning, looping and reading in each other's presence, expressed through music, narration, field recordings, and transcription.     
 
It seemed astonishing to them that the most enduring mysteries of modern times could be reduced to a recorded analysis of stolen paperwork. If they were trying to say - what goes around, comes around - I was trying to make it real.     
 
Biographies:     
 
Rosie Roberts is an artist, writer and editor in Glasgow generally working collaboratively through ideas of synchronicity, time, locality and affect. She also works as a tour guide and in a shop.     
 
Alison Scott is an artist, writer and art-worker often working with other artists on projects. Recent work has drawn on encounters with weather, land, and the idea of the commons. She is based in Angus.      
 
Becky Šik is an artist filmmaker based in Glasgow whose work spans moving image, installation, sound, music, writing and publishing, often working collaboratively. Becky’s recent work explores the echo, electromagnetic phenomena and technologies as a way of understanding the body’s relationship to constructs of time and state.

This is the latest in my longterm project “Shadow-walks.” John and Ivor took me on a walk through Abney Park Cemetery, Stoke Newington. I’ve known and worked with them both for many years and admire their humour and their 2:13 TV films.
“Shadow-walks” have occurred in Asia, Europe, Australia and the Americas. I ask people to take me on a special walk that has significance for them. I record our walk, then I retrace the route alone and sing my response. For the final piece I combine conversations with my singing.
 
Biographies:
Viv Corringham is a vocalist and sound artist who makes concerts, soundwalks and installations. She holds an MA Sonic Art and a Deep Listening teaching certificate. Described as “a vocalist of stunning virtuosity” by The Wire, her work has been presented in 26 countries.
John Bisset is a guitarist & film maker; Ivor Kallin plays viola and is a Resonance radio host. Ivor & John have argued in the street for 35 years. Indoors they made a hundred films as 2:13 TV:
https://www.youtube.com/user/TwothirteenTV

Weblink:
http://vivcorringham.org/

Tickets pay what you can from: 
Live-to-Air: Jasna Veličković/Cindy Islam/Lee Patterson | CCA Glasgow (cca-glasgow.com)

Cindy Islam - The Land I Always Heard

In this live-to-air performance Cindy Islam uses audio visual excerpts from Iraq and the UK to render the soundscape of their migration. Contemplating human movement and the inaudible or unheard sound of land, Cindy Islam creates audio environments as a way to make discoveries and connections to their herstory. The performance combines synthesised sounds, spoken words of their family and field recordings, to reconsider ways of hearing history and using techniques of listening to inform better futures. Conscious of the western gaze and the disaporic privilege to revisit war torn lands, Cindy Islam focuses on the micros, minutus and mundane, honing in on the overlooked repetitious loops of everyday experiences and noises.

Cindy Islam is a sound artist and performer inspired by Sufi principles of sound as a divination tool, a way to reconnect to the origins of creation aka the first sound, also referenced to some as 'God'. Absent of any musical training, Cindy Islam approaches the decolonisation of sound-making through a celebration of the amateur; collaging and layering synthesised noises, frequencies, field recordings and archival sounds from their migrations between Iraq, London and Scotland. With the intention to provide a sense of access, Islam constantly reminds audiences 'the sounds are found and not created, only reheard'. For the previous five years Cindy Islam has developed the project Fossilised Frequencies and founded a sound arts space in Glasgow. Both ventures consider sound art as a method toward strengthening listening practices and using different variations of internal/external frequencies to retune to essence of love.

Lee Patterson - Terrain

As a live, improvised music work, Terrain is an experiment in chemical and mechanical sound synthesis, it may or may not feature the amplification and activation of materials ranging from rock chalk to burning nuts and seeds; old cd players and their motors; effervescent salts to amplified springs and vibrating metal to buzzing ampoules.

Lee Patterson uses sound making and recording to devise performances with a selection of amplified objects, devices and processes. Based in Prestwich, Manchester, UK., he works internationally and has featured on UK TV, BBC Radios 3, 4 and 6, Resonance FM and on radio stations worldwide.

At dawn,
A scops owl rings the bell of an Occitan village and wakes the nightingales,
A mobilette solo unfolds the landscape,
A bumblebee flirts with a saxophone,
The fickle water makes its way to the vineyard of a music lover,
The baker waits for the wind...
In the beginning was the sound.

Le Chót is a collective sound piece born from a wander in the village of Azillanet in France in April 2023. The practice of field recording explores the sonic identity of the town: its inhabitants, its forests, its market, its music, its stories, its birds and its environmental deepness.

They were made as part of the field recording workshop led by sound artist Félix Blume, by Ana Sany, Anaïs Binggeli, Célia Dessardo, Cicely Fell, Déborah Benarrosch, Irazema Vera, Jacob Redman, Léa Roger, Marie Casanova and Mathias Arrignon, and with the kind support from Martine, Georges, Stéphane, Nico, Marie, Jacques, Marc, Anne and Myriam.
 
Links:
Félix Blume: https://felixblume.com/ Workshop: https://felixblume.com/workshop/

a journey made with sounds from the industrial estate i used to work on, an autoharp i took when we were clearing my parents house, and a street preacher heard from inside a temporary art space in the town centre.

is there a heaven? the evidence as presented here is inconclusive. there is a dog though, you can definitely hear one on this. bad investigative journalism at its best.

Yol is a performance/visual/text artist currently based in Hull. Working with physical performance, space as instrument/collaborator, mangled language and extended vocal techniques his work appears in the form of physical performances, installations, and diy released product. Found objects/mouth noise.


Links:

https://yolnoise.bandcamp.com

https://www.youtube.com/channel/UCg6WPqxpXl32mCQoQO7G6dg

https://mobile.twitter.com/brighthouse5

1 - Gabrielle Hasler - Orangeism - La Sicilia (14:51)
2 - Dream Diary - OST #1: 04 A4    (1:00)
3 - Bergur Anderson - Around the Songster's Commune (16:34)
4 - Andrea Oppo - Campu Perdu (10:10)
5 - Mark Vernon    - Call Back Carousel Ep 5: Paignton Zoo    (15:38)

1 - Gabrielle Hasler - Orangeism - La Sicilia

In the second Corona winter I fled to Sicily for three months. I was curiously on the road with my iPhone, recording observations as voice messages, letting myself be fascinated by the Sicilian contrasts. The sound of the sea at Taormina, the shouting of the fishmongers in Catania, the hammering of the tinsmiths in Palermo... Staging and corso take place everywhere and all day long - the fish market in Catania: basically a gigantic opera choir...
Except for the city guide in Palermo, the Italian spoken sentences are from Google Translator.

Gabriele Hasler's sound and tonal language is influenced by her involvement with contemporary jazz, electronic sound art and avant-garde pop. The exploration of the voice as an instrument led to a sophisticated collection of vocal techniques. Her voice is used both purely acoustically or amplified. In her "Hörichte" thematic field recordings, soundscapes and loops are added.
Hasler has been releasing on LAIKA Records since 2016, her latest release. "Herden und andere Büschel" received the German Record Award 1/2021 in the Grenzgänge category.

http://www.gabrielehasler.de

2 - Dream Diary - OST #1:A4    

https://freemusick.bandcamp.com/album/ost-1

3 - Bergur Anderson - Around the Songster's Commune

Around the Songster’s Commune is a sonic drift into troubadour poetry and song. Collected here are experimental interpretations of existing troubadour poems, notations, personas — as well as try outs in song-writing, love poetry, and field recording. The piece is thought of as a speculative sonic space that reflects on the thriving troubadour society of Medieval Europe.

Recorded at Jambes, Brussels, 2022
Published as a cassette on Brussels-Rotterdam based label Futura Resistenza

Bergur Anderson is an Icelandic visual artist, composer and sound-maker based in Rotterdam. Through various solo and collaborative projects he makes publications, performances and installations that reflect on his interests in polyphonic storytelling, orality and the transitory qualities of sound.

https://berguranderson.info

4 - Andrea Oppo - Campu Perdu

This is an unmixed natural soundscape made in the suggestive Asinara Island. You can hear the wind like you are inside it. Like you are an abandoned prison, or an abandoned stall. You can also feel yourself like an animal, a special animal which lives here and gave the name at the island itself.. or like a prisoner, a free prisoner under the sky and hidden in the wind. Just go blind for this journey. This is a prison but a windy one.

My name is Andrea Oppo, I live and work in Italy in cinema and documentary films as sound mixer and boom operator. I’m very interested in recording sound for documentaries.

https://www.imdb.com/name/nm9443862/
https://taeateh.bandcamp.com/album/2011-i-want-a-desert-island-more-time-to-get-brown-more-time-to-be-alone

5 - Mark Vernon    - Call Back Carousel Ep 5: Paignton Zoo

1 - Galo Durán - Anatolia (4:49)
2 - Anabelle Adamcewicz - 60 Second radio: Ambient techno (1:04)
3 - Johnny Dixon - Was This Helpful? Vol 2 Part 2 (16:08)
4 - Arturo Pacheco Manzano - TETZAHUITL (Omen) (17:30)
5 - Joanne Matthews - Listening is difficult (10:17)
6 - Rophone - The Birth of Machine (7:14)

1 - Galo Durán - Anatolia

All sounds were recorded by Galo Durán in Istanbul and Capadoccia / Nov and Dec, 2022.

Galo Durán - MÉXICO. Based in Mexico city. Since 2002 makes music for films projects.
2010-Artistic residence in Buenos Aires, Argentina.
2011- Soundscape of Jamma el Fna, Marrakech, Moroco.
He has also participated in the International Film Festival in buenos aires
Argentina BAFICI 2010 and in the international film festival Rotterdam IFFR
2012 Netherlands.
2013-Nominee to an Ariel prize - original music
2015-performances in Tokyo, Kioto and Wakayama Japan
2017- performances in Bangkok, Thailand,
and ho chi minh city ( Saigon ), Vietnam
2018 - performances for second time in Tokyo and kioto , japan.
2020- Won Ariel prize : best original music
2020- Won best original soundtrack prize - Pantalla de cristal film festival,
Mexico
2021- Nominee, Best Sound Design, ( Estepario / short ) Anatolia International
Film Festival, Turkey.
2022. recorder sounds in Anatolia , ( Istanbul and capadoccia ) Turkey

2 - Anabelle Adamcewicz - 60 Second radio: Ambient techno

My artistic intention with this piece was to convey the nostalgia that comes with the passing of time. This was depicted through the use of MIDI sampling techniques which mimic the ticking sound of a clock. As the piece progresses, this ticking can be heard to be layered, creating a sense of momentum as ‘time’ progresses. Panning effects were also used on this ticking sound to create a notion of
the piece surrounding the listener, in almost a circular motion like how time can be perceived. I placed this sound at the start and end to create structure in the piece which can be heard to end with the ticking sound and the sound of a crash, reversed to indicate what could be, the sudden feeling of one’s time stopping. I also incorporated sounds which reminded me of nature such as thunder and rain to play in the background. This adds to the ambient feel of the piece and also, symbolises how time passes with nature. The melody and synthesised sounds were produced also through MIDI sampling and were incorporated to encapsulate the feelings of nostalgia
associated with the passing of time. Through this technique, I looped the synthesiser which can be heard at the start to create a subtle beat to depict the forward momentum of time.

3 - Johnny Dixon - Was This Helpful? Vol 2 Part 2

4 - Arturo Pacheco Manzano - TETZAHUITL (Omen)

In the Florentine Codex, the story of the conquest of Mexico begins with the eight omens that began to be seen approximately ten years before the arrival of the Spanish: Celestial phenomena, the spontaneous combustion of the temple of Huitzilopochtli, temples struck by lightning in days sunny days, floods or the appearance of strange beings and mysterious creatures. This radio production is inspired by this Codex under the principle of recreating a sound environment for the narration, through the use of radio language and the concept of soundscape.

Arturo Pacheco Manzano (Xochimilco, Mexico City, Mexico)
Radialist, musician, psychologist from Mexico City. He has worked as a transcriber, musical arranger and instrumental performer in various cultural events in Mexico and other countries. Research psychologist and consultant, therapist, university teacher and school prefect. He has also collaborated since the time of the pandemic with cultural groups and in free and community radio production in different territories of the country and on the internet.

5 - Joanne Matthews - Listening is difficult    

An audio exploration of the difficulties of listening made up from field recordings, situated in am rural artist residency, filtered through a distracted mind.

Joanne Matthews is an artist and producer working collaboratively across performance, moving image, sound and installation. Their work is shaped by social-political contexts, research into deep ecology and queer speculative fiction.

http://www.jojomatthews.art

@jojo.maffyews on instagram

6 - Rophone - The Birth of Machine    

I have always been fascinated my machines. Being an ‘80s child – The Terminator, Robocop, Akira...are all burned into my childhood memory.

I have also grown up with technology too – from the early ZX Spectrum to the AI of today, I’ve experienced the growth first hand. I have seen how technology has formed and shaped our lives, and the paranoia that has gone with it.

This piece is an entirely fictitious account of the alternative history of the birth (not manufacture) of machines, played out in three parts – fire, consciousness, then the eventual heartbeat.

My name is Mike, but I perform under the moniker Rophone and Mykadelica. I have performed in and around London as a dj/vj/live act for around 10 years, playing such venues as the Social, The Alibi, the Foundry, and Modern Art Gallery, Oxford amongst many others. Most recently I have played Boat Live and Iklectik.
Mykadelica is based around the cross-pollination of ideas across the 2D, 3D and Sound spectrums; Rophone is saved for more experimental sounds and electronics.
This will be my 3rd Radiophrenia piece; I’m looking forward to you hearing it.
I can be found at http://www.mykadelica.com.

1 - Galo Durán - Anatolia (4:49)
2 - Anabelle Adamcewicz - 60 Second radio: Ambient techno (1:04)
3 - Johnny Dixon - Was This Helpful? Vol 2 Part 2 (16:08)
4 - Arturo Pacheco Manzano - TETZAHUITL (Omen) (17:30)
5 - Joanne Matthews - Listening is difficult (10:17)
6 - Rophone - The Birth of Machine (7:14)

1 - Galo Durán - Anatolia

All sounds were recorded by Galo Durán in Istanbul and Capadoccia / Nov and Dec, 2022.

Galo Durán - MÉXICO. Based in Mexico city. Since 2002 makes music for films projects.
2010-Artistic residence in Buenos Aires, Argentina.
2011- Soundscape of Jamma el Fna, Marrakech, Moroco.
He has also participated in the International Film Festival in buenos aires
Argentina BAFICI 2010 and in the international film festival Rotterdam IFFR
2012 Netherlands.
2013-Nominee to an Ariel prize - original music
2015-performances in Tokyo, Kioto and Wakayama Japan
2017- performances in Bangkok, Thailand,
and ho chi minh city ( Saigon ), Vietnam
2018 - performances for second time in Tokyo and kioto , japan.
2020- Won Ariel prize : best original music
2020- Won best original soundtrack prize - Pantalla de cristal film festival,
Mexico
2021- Nominee, Best Sound Design, ( Estepario / short ) Anatolia International
Film Festival, Turkey.
2022. recorder sounds in Anatolia , ( Istanbul and capadoccia ) Turkey

2 - Anabelle Adamcewicz - 60 Second radio: Ambient techno

My artistic intention with this piece was to convey the nostalgia that comes with the passing of time. This was depicted through the use of MIDI sampling techniques which mimic the ticking sound of a clock. As the piece progresses, this ticking can be heard to be layered, creating a sense of momentum as ‘time’ progresses. Panning effects were also used on this ticking sound to create a notion of
the piece surrounding the listener, in almost a circular motion like how time can be perceived. I placed this sound at the start and end to create structure in the piece which can be heard to end with the ticking sound and the sound of a crash, reversed to indicate what could be, the sudden feeling of one’s time stopping. I also incorporated sounds which reminded me of nature such as thunder and rain to play in the background. This adds to the ambient feel of the piece and also, symbolises how time passes with nature. The melody and synthesised sounds were produced also through MIDI sampling and were incorporated to encapsulate the feelings of nostalgia
associated with the passing of time. Through this technique, I looped the synthesiser which can be heard at the start to create a subtle beat to depict the forward momentum of time.

3 - Johnny Dixon - Was This Helpful? Vol 2 Part 2

4 - Arturo Pacheco Manzano - TETZAHUITL (Omen)

In the Florentine Codex, the story of the conquest of Mexico begins with the eight omens that began to be seen approximately ten years before the arrival of the Spanish: Celestial phenomena, the spontaneous combustion of the temple of Huitzilopochtli, temples struck by lightning in days sunny days, floods or the appearance of strange beings and mysterious creatures. This radio production is inspired by this Codex under the principle of recreating a sound environment for the narration, through the use of radio language and the concept of soundscape.

Arturo Pacheco Manzano (Xochimilco, Mexico City, Mexico)
Radialist, musician, psychologist from Mexico City. He has worked as a transcriber, musical arranger and instrumental performer in various cultural events in Mexico and other countries. Research psychologist and consultant, therapist, university teacher and school prefect. He has also collaborated since the time of the pandemic with cultural groups and in free and community radio production in different territories of the country and on the internet.

5 - Joanne Matthews - Listening is difficult    

An audio exploration of the difficulties of listening made up from field recordings, situated in am rural artist residency, filtered through a distracted mind.

Joanne Matthews is an artist and producer working collaboratively across performance, moving image, sound and installation. Their work is shaped by social-political contexts, research into deep ecology and queer speculative fiction.

http://www.jojomatthews.art

@jojo.maffyews on instagram

6 - Rophone - The Birth of Machine    

I have always been fascinated my machines. Being an ‘80s child – The Terminator, Robocop, Akira...are all burned into my childhood memory.

I have also grown up with technology too – from the early ZX Spectrum to the AI of today, I’ve experienced the growth first hand. I have seen how technology has formed and shaped our lives, and the paranoia that has gone with it.

This piece is an entirely fictitious account of the alternative history of the birth (not manufacture) of machines, played out in three parts – fire, consciousness, then the eventual heartbeat.

My name is Mike, but I perform under the moniker Rophone and Mykadelica. I have performed in and around London as a dj/vj/live act for around 10 years, playing such venues as the Social, The Alibi, the Foundry, and Modern Art Gallery, Oxford amongst many others. Most recently I have played Boat Live and Iklectik.
Mykadelica is based around the cross-pollination of ideas across the 2D, 3D and Sound spectrums; Rophone is saved for more experimental sounds and electronics.
This will be my 3rd Radiophrenia piece; I’m looking forward to you hearing it.
I can be found at http://www.mykadelica.com.