In this episode we hear Miju Lee drawing, Christopher Tolkien talking about his father, Professor Eric Hawkins talking about Lorca and Nazi Germany, Sun Ra talking about not being human, excerpts from Pinter’s The Lover and Chesterton’s The Club of Queer Trades, vocabulary from a 1940s documentary about the English language, and music from Satie, Duane Pitre, Delaware, Joe Hisaishi and David Sylvian.

During 2013 Momus created a series of radiophonic programmes for Newcastle radio station BasicFM entitled Hearspool. Mesmeric, evocative, and made in the tradition of German neue hoerspiel.

Momus is a Scot who makes songs, books and art. He lives between Europe and Japan.

http://imomus.com/

https://en.wikipedia.org/wiki/Momus_(musician)

Radio Concrete is an ongoing experimental sound project which combines field recordings together with radio broadcasting.

It is an exaggerated personal interpretation of sounds that we are exposed to every day in the public and domestic spheres, often in passing or involuntarily.

Fresh raw materials including field recordings of our everyday routine, samples and loops from tv & radio, news editions and advertisements are all gathered on a regular basis and then mixed together on the spot.

Hagai is a sound artist, composer and musician and a founder member of the electronic duo Rendezvous. Born in 1978, he lives and works in Israel.

His work focuses on collecting and combining field recordings together with radio broadcasting, using sounds we’re exposed to every day in the public and domestic spheres, often in passing or involuntarily.

The result is a multi-layered restless composition created in real-time, using pre-recorded sound objects and live sources; a compressed sonic experience of our daily lives.

http://www.hagaizenberg.com/
http://danielmeir.com/

A series of rainscapes originally created for a rain pavillion designed by the artists Dalziel & Scullion for the Kaust University Campus in Saudi Arabia. All sounds recorded and composed by Mark Vernon.

Rain has a unique ability to sound out and describe the surfaces in our immediate surroundings, making us newly aware of the timbre, dimensions and other sonic qualities of all things in our vicinity. Rainfall on pots and pans, tubs and tins, car bonnets and cafe tables, park benches and rubbish bins, drainpipes and scaffolding, umbrellas and window panes, conservatories and caravans, pavements and microphones…

“I opened the front door, and rain was falling. I stood for a few minutes. Lost in the beauty of it. Rain has a way of bringing out the contours of everything; it throws a coloured blanket over previously invisible things; instead of an intermittent and thus fragmented world, the steadily falling rain creates continuity of acoustic experience.”

(from: John M. Hull, Touching the Rock. An Experience of Blindness, Arrow books, London, 1991, pp.22-23)

meagreresource.com

1. Jamie Bolland – Fortune (Water)
2. Chloe Reid – Filthy Man
3. Luong Hue Trinh – Return ii
4. Amanda Johnson – The Ice Cave – Buxton Museum
5. Jamie Loggie and Connel Soutar – Croft Transmissions SR1241
6. Christoffer Schunk – Until No Longer Effective – Did You
7. Eleanor Wright – Still Solar Wind

1. Jamie Bolland – Fortune (Water)

Fortune (Water) is an Excerpt from The Fortunes of A. Wending, a collage work made using a variety of recordings, found sounds and a tape machine. This particular fortune was made with offcuts from recordings for a performance of John Cage’s Water Walk at the DCA in 2014.

Jamie Bolland is an artist, writer and musician. He is a founding member of the groups Tut Vu Vu and PONOS. He works across publishing, performance, collage, sound design, and with a variety of musicians and artists to create new works.

http://www.slomo.scot
@indoorparkour
http://www.soundcloud.com/tu-vu-vu
https://awending.bandcamp.com

2. Chloë Reid – Filthy Man

Filthy Man is an audio recording of a reading of a short story by Chloë Reid.

Chloë Reid is a South African artist currently considering her practice through a socio-physiological framework. Positioned between sociology, biology and psychology, this term refers to the relationship between a society and the habitual physical functions of individuals within that society. She uses film, writing and audio to pare down, repeat and create rhythmical descriptions of objects and actions in an attempt to locate a kind of politics in regular intuitive performance.

http://www.chloereid.co.za

3. Luong Hue Trinh – Return ii

I’ve heard stories about Vietnamese refugees, and I also met some of them. During war times, they left the country because of various reasons such as politics, religion…etc. or simply, looking for a better life. During their trip to new lands and over there, they faced many difficulties. After years, people could have a stable living, but not all of them. However, they all share a common feeling. They don’t really belong to anywhere. This piece is dedicated to them. In their minds it should create a kind of imaginary motherland.

1998–2010, after studying at Vietnam National Academy of Music, Luong Hue Trinh graduated with honors in Jazz keyboard. In 2010, electroacoustic music became her main focus. 2015- 2018, she’s been awarding DAAD scholarship for Master Multimedia Composition in Hamburg, Germany.

Her works’ve been exhibited in art spaces/museums, broadcasted on radios, performed in festivals in Vietnam, Thailand, China, Malaysia, Cambodia, Philippines, Indonesia, Japan, Turkey, US, Czech Republic, Germany, Scandinavia, Australia, Canada & UK. Her first album Illusions had a review and was on the list of Best of 2016: Album of the Year by Avant Music News in San Francisco, US.

4. Amanda Johnson – The Ice Cave – Buxton Museum

Composed by Buxton Museum’s artist in residence, Amanda Johnson, for their new gallery opening in September 2017, The Hindlow Lion Suite consists of four electro-acoustic pieces for stringed instruments and recorded environmental sounds. Inspired by the Cave lion bones in Buxton Museum’s collection, the composer uses ancient cave lion DNA to inform the music. The pieces were recorded in Foxhole Cave in the Peak District National Park, Derbyshire, where ice age cave lion bones have been found.

With thanks to Arts Council England, Buxton Museum, Heritage Lottery Fund, The National Trust, Sound and Music and The British Library sound archive.

Recent recipient of the Francis Chagrin award Amanda Johnson is a composer and violinist fast gaining a reputation for work made in response to museum collections. In recent years she has worked with the British Music Collection, the National Trust, Nottingham Trent University, Sheffield Cathedral, the National Coal Mining Museum and is she currently composer in residence here at Buxton Museum.

After a classical training, Amanda played in a number of orchestras and chamber groups. In recent years her practice has moved towards composition, her work combining traditional composition, digital sounds and live performance, often derived from data or patterns.

5. Jamie Loggie and Connell Soutar – Croft Transmissions SR1241

Synopsis – This is an experimental piece based on the Number Station phenomenon. Placing the listener in a Croft in the Highlands of Scotland, you listen to an array of unknown shortwave signals from all corners of Scotland’s mythical Moors and Munros. From an ancient world full of legends and folklore, where witches, wolves, unicorns and
giants roam, what anomalies will occur?

Jamie Loggie – I am an Audio Technician and Sound Designer with experience and skills in various industries and fields including radio, TV, live music, audio production and video production. Working with audio is my passion and I am always striving to learn new things.
https://uk.linkedin.com/in/jamieloggie

Connel Soutar – I’m a writer with a keen interest in how weird the world is. I’ve covered technology and creative interests, from 3D printed food to political leaders. I really enjoy things that are at least a little strange and have been interested in short and long wave radio for years.

https://www.flickr.com/people/129129583@N03/?rb=1

6. Christoffer Schunk – Did You

This is the first track of Until No Longer Effective: an album of experimental music utilizing hundreds of fart samples collected over two years. The album can be considered a type of slow- change music based on the listener’s attitude and perception of the sounds. What results from continued exposure to something like a fart and how does accompanying noise influence the perception of it? If it is immediately grotesque or funny, how long does it take for different opinions to form? What does this say about humor? Can fart acclimation relate to societal or political acclimation?

Christoffer Schunk is a multidisciplinary composer and performance artist based in Los Angeles. His works involve voice, common and uncommon instruments, field recordings, electronics, and acting. His pieces have been featured nationally and internationally at SEAMUS, MUSLAB, the Ars Electronica Forum Wallis Festival, the Brooklyn Film Festival, Sound Thought Festival, the Iron Composer Competition, REDCAT, Human Resources LA, the wulf and on I Care If You Listen, and have been performed by Conceptual Soundproductions Budapest, Santa Clarita Master Chorale, the CalArts New Century Players, Black House Collective, and the UC Santa Barbara Symphony Orchestra.

http://www.christofferschunk.com

7. Eleanor Wright – Still Solar Wind

Considering the universe as a complex network of vibrations, we reposition ourselves (as a body of waves) somewhere amongst the macro (cosmic) and micro (atomic) frequencies of our environment.We seek to find harmony and resonance in the symphony of energies that surround us, and we can be made aware of the omnipresent vibrations with the understanding of sound waves as pervasive spiritual entities: eclectic but united in their nature. This piece proposes a moment of resonance where radio is the domestic platform that these measureless vibrations can assume

Former art student and current physics student, I hope to eliminate the exclusive language the two fields use to communicate their essential comments and explorations of the universe, and cross pollinate the two in hope to share and achieve a higher consciousness.

I have been writing and producing a weekly series of musical science fiction radio plays for children. They are broadcast on Radio Sunnyside, 101.5 FM, here in my hometown of Flagstaff Arizona. The show is called “Mary Farfisa’s Outer Space Radio Theater.” Mary Farfisa is an eight-year-old space-girl who travels the Galaxies on her space-horse, Briscoe. Mary goes from planet to planet, searching for “songs and sounds and music and noise” to share with the rest of the Universe. Mary catches the songs and sounds and music and noise in her “audio lasso.” Then she brings them to the Listener’s Library – an intergalactic collection of sounds, curated by music-loving super-beings called the Listeners. Mary’s adventures are exciting, funny and fun. But each episode also teaches something about a certain style of music, or deals with some aspect of learning music that kids can relate to. The show was created by me. I write, produce (and even act!) in every episode. Original music and sound effects are created for each episode. The art and posters that accompany each show are painted by me. The plays are performed by local actors and musicians, like Cara Alboucq, who plays the role of Mary Farfisa.

All the shows can be listened to at mixcloud.com/maryfarfisashow.

And you can find out more about the show at facebook.com/maryfarfisa.

An anonymous submission of unknown provenance. An uncensored artefact of outsider radio. This programme documents the audio inventiveness of two hyperactive young girls across two sides of a C90 cassette tape. K & C radio explores the inner psyche of its two willing participants revealing obsessions with nuns, the Argos catalogue, Gremlins and poo, lots of poo. For the first time ever this radio show made solely for the entertainment of an audience of two will be heard across the airwaves and across time. K & C – if you’re listening, and I hope you are – I’d just like to let you know that – I need a poo!

Upward Citizen is an experimental sound project recorded in the city of Santiago, Chile in November 2016.

This work proposes a vertical crossing, which accounts for the link between the release of the being and action of climbing. By means of the registration of the different layers of the city (that begins in the underground transport and ends at the top of Cerro Santa Lucía, immersed in the middle of the city) this proposal pretends to show the different sonorities to which we are exposed within the contemporary city and how it can mutate depending on the place and height to which we are.

Ignacio Pereira Molina a.k.a Espereira (b. 1992) is a chilean-based graphic designer and media artist. Since his formal studies in design, his work has been changing into more experimental and conceptual areas, working the image as a whole in various techniques such as photography, engraving and new media. Its imaginary is based mainly on the human being and its relation with the habitat; carrying out interdisciplinary projects that try to unveil the existence of man.

http://www.espereira.net

(1) Pytchblend – tripianoNaïveté (flebile)
(2) Vincent Eoppolo – The Divine Inspiration Machine
(3) Hieroglyphs – deep sleep (ritual)
(4) Jamie Livingstone – Coital Cacophony

Stories and memories, improvised and found sounds from Maryhill and far, far beyond…
Maryhill Integration Network brings together communities through art, social, cultural and educational groups and projects. For Radiophrenia, people who’ve come to Glasgow from Eritrea, Syria, Palestine, Spain, Tunisia, Pakistan, Sudan, Uganda, Niger, Iran – and even England – share their adventures and experiments in sound.

“When we started doing these recordings – honestly – we were like, ok what is this?! For us it’s a new thing. But when we heard what we’d done, we found the joy in it.” – Sami, Sudan

http://www.maryhillintegration.org.uk
https://www.facebook.com/maryhillintegrationnetwork/
https://twitter.com/maryhill_in

So what is your vibration? is a poem and a stream of conciousness. There is fire, lava and molten metal as well as electrical storms, spiders’ webs and votive offerings to the gods. The work is in part inspired by visits to the geology collection of the National Museum of Scotland in Edinburgh.

http://catherinestreet.net

Supported by Creative Scotland and Outset

The Lady In Her Dimensions is a series of writings describing a woman – a relationship, a past love – but explored through theories on the construct of the universe. It allows the unknown to become potential. The real to become magical. It presents a different angle in which to interpret the feelings of loss, guilt, want and regret, and how all things are intimately connected.

The piece comes from a collaborative project made with my brother, involving the creation of twelve experimental pieces of writing – stories, plays, poems, scribblings – each developed from the starting point of a photograph.

Jolyon Houghton is a 28 year old actor and writer from West London, who studied Collaborative & Devised Theatre at the Royal Central School of Speech and Drama. His writing is a mixture of humour and misfortune, in the form of plays, poems and short stories.

Written by Jolyon Houghton
Performed by Jolyon Houghton and John Dobson
Special thanks to Hoagy Houghton and Billy Brooks for help with editing and sound.

1. Garrett Tiedemann – Last Thursday (in Fragments) – Episode 6 – Limitation
2. Hagai Izenberg – Chronicle 2
3. Jaxton Su Jingxiang – Dreamscape: friends
4. Jamie Livingstone – Iteration
5. Bernardo Jiminez – Michelle

1. Garrett Tiedemann – Last Thursday (in Fragments) – Episode 6 – Limitation

In 2015 Don Chambers hosted “a music and other things entertainment” each month called The Last Thursday. Each month had its own theme and governed not only the types of content, but way of presentation for the evening. These evenings lived and died in the moment with very little social media promotion or archiving. In series 2 of The White Whale we offer snippets of these evenings; providing first glimpses beyond the nights of what went down and why their existence foregoing online permanence is important. Visit http://www.donchambersmusic.com/ for music and more.

Garrett Tiedemann is a radio producer, journalist, filmmaker and composer. He works for American Public Media covering the breadth and depth of composed music for YourClassical and Classical Minnesota Public Radio while also producing films, music videos, music and the podcast The White Whale via his production company CyNar Pictures. As a freelancer, he has lent production and compositional approaches to the podcasts Vanishing Ink, Here Be Monsters, The Organist, ARRVLS, Life of the Law, and Top Score. Additionally, he manages production and strategy for the oral history/storytelling project SisterStory.

2. Hagai Izenberg – Chronicle 2

Chronicles is a weekly format of works that attempt to trace the sounds and happenings on a weekly basis and compress them to 4-5 minutes of sonic experience. Fresh raw materials were collected every week including field recordings, samples from radio & tv and recordings sent by listeners of RadioArt program by Meira Asher on 106fm, who featured the project. It includes 6 episodes (total of 30 minutes) of 6 weeks from Oct 6th till Nov 17th, 2016 and attempts to capture everyday sounds together with the daily news & events, tragedies and political discourse next to advertisements and entertainment.

Hagai is a sound artist, composer and musician and a founder member of the electronic duo Rendezvous. Born in 1978, he lives and works in Israel. His work focuses on collecting and combining field recordings together with radio broadcasting, using sounds we’re exposed to every day in the public and domestic spheres, often in passing or involuntarily. The result is a multi-layered restless composition created in real-time, using pre-recorded sound objects and live sources; a compressed sonic experience of our daily lives.

http://www.hagaizenberg.com/

3. Jaxton Su Jingxiang – Dreamacape: friends

Dreamscape is an exploration of how sounds in dreams can be translated aurally to form a narrative that could potentially aid in the understanding of the self. It aims to provide the audience with a sonic experience of the artist’s self-portrait as told by his dreams.

Jaxton Su (b. 1988) is a Singaporean Visual Artist, based in Glasgow, UK. He enjoys experimenting with the use of colours in portraying peculiar narratives that delve into the notions of archetypes and the imaginary. Taking inspirations from the natural environment, Jaxton often creates bizarre dreamlike worlds with a whimsical composition of elements to bring across his ideas. Working with a variety of different mediums such as painting and installation, he hopes to create a visual utopia that could form a resonation with others and spark an imagination.

website: http://www.jaxtonsu.net

4. Jamie Livingstone – Iteration

Puddle Rainbows Missed is a poetry EP by Jamie Livingstone produced by future garage and techno DJs Blackboxx and Acidtone. It centres around the idea of the Mandelbrot Set and iterative patterns. How do these forms commune with the brittle, coarse and tender everyday muck? What are people up to with cucumbers? Who knows anyway? It’s poems mixed with samples. It’s sound and shape.

I started writing poetry when Mr Harrington read us Yeats and almost stopped when I heard what age he lost his virginity.
Yeats, that is, not Mr Harrington.
Who knows what he gets up to.
I am 26. Yeats was 31. I live in Oban. I have no children. I have a full set of teeth.

https://soundcloud.com/blackboxxproduction

5. Bernardo Jiminez – Michelle

The Question is one of the longest running projects of this kind in latin america, with more than two decades of constant work. TreesOnComa begun as a side project to -eLaMoRTe-, in order to release under this tag more experimental sound/instrumental pieces and also to offer visual artists the chance to commission sound works for their creations. TreesOnComa has also worked with theatre companies in the past.

https://soundcloud.com/treesoncoma

Soundscapes, objects, music and anomymous voices from some places close to
yours. Field recordings, edited and mixed on location by ORVKNS (Jean François
CAVRO).

Kyoto – Sound portrait of Kyoto (Japan) 1997

Pondicherry-India-2007-2008 Sound portrait of Pondicherry – Tamil Nadu (South India)

Cogolos-Andalusia-Spain-2015 Sound portrait of Cogollos Vega – Andalusia (South of Spain) – August 2015

Bamako-mali-2007 Soundscapes from Bamako – Mali (Africa) – February 2007

Belfort-France-2002 Various bells mechanism, ropes, clock and unheard sounds from Churches bell towers In Territoire de Belfort (France) – 2002

Beijing-China-2004 Soundscapes from Beijing (China) – September 2004

India-2002-2003 Soundscapes from India inspired by Jules Vernes « Around the World in Eighty Days » – the Indian Stage- 2002/2003

Lyon-France-12-95 Soundscapes from Lyon (France) – december 1995 – opposition party demonstration

Kodaï-India-2007 Sound portrait Kodaï-Kanal – India – 2007

Jean François CAVRO – Compositeur – Artiste du son – Cartographe sonore Il est diplômé du Conservatoire National de Région de Lyon (CNR – classe de Denis Dufour) et du onservatoire National Supérieur de Musique de Lyon (CNSM – classe de Philippe Manoury et Denis Lorrain), en composition instrumentale, électroacoustique et informatique musicale. Il a également suivi le cursus de DEA musicologie du XXième siècle à l’IRCAM
(Institut de Recherche et de Coordination Acoustique/Musique – Paris. Il est actuellement étudiant en Master II musicologie, mémoire de recherche sur la cartographie sonore urbaine. Il intervient régulièrement depuis plusieurs années dans le cadre de projets en collaboration avec l’Education Nationale : Projet petite enfance, Ville de Lyon – projet sur l’ Arc Jurassique Franco/Suisse – Lycée du 1er Film Lyon – colloque 2005 “la Musique, le
Son et la Ville” – Lycée Courbet, Belfort – Lycée Technique de l’Horlogerie, collège et établissements primaires de la ville de Morteau – Centre de Linguistique Appliquée Besançon – Ecole Nationale des Beaux Arts de Limoges – Intervenant son à l’École
Nationale Supérieure de Cinéma Louis Lumière – La Plaine St Denis, Cité du Cinéma.

Il se présente comme artiste du sonore en développant parallèlement à son travail de composition un vaste projet sur les paysages sonores, mémoire vivante du monde contemporain. Ce travail sonore s’inscrit dans une réalité urbaine. Son approche de musicien ouvre un champ autre à la lecture classique d’une ville : il nous révèle les sons et la voix de la ville. Par une exploration passant par la collecte d’instantanés sonores, il élabore une cartographie nouvelle. Elle alterne des échelles de sons diverses partant du fond sonore général d’un hall de gare jusqu’au détail comme la voix d’un marchand ambulant dans la rue… vrai puzzle ou kaléidoscope sonore renvoyant aux multiples facettes et images urbaines. Il définit la ville non seulement comme un lieu mais aussi comme une accumulation de mouvements pluriels et d’expériences simultanées. La ville est un véritable palimpseste où se lisent les couches de l’histoire : les bâtiments gardent en eux une mémoire. Ils sont les témoins d’une époque, d’un temps passé, présent ou futur. A l’inverse l’environnement sonore est oublié, fugace, éphémère. Jean François CAVRO fixe cette mémoire sonore en perpétuelle transformation et nous permet de l’analyser et de mieux comprendre ainsi notre société. Celle ci est de plus en plus urbaine, les sons industriels remplacent un par un les sons naturels. Les villes s’étalent dans une péri- urbanisation.

Jean François CAVRO nous éclaire, par sa démarche, sur l’évolution de ce phénomène. Par ses constats et questionnements il peut donner des réponses et des
orientations à suivre pour les acteurs de la ville. Par son travail minutieux de construction et de déconstruction sonore, le compositeur nous pose ainsi les questions : “Aujourd’hui où vivons nous et Que devons nous écouter ?”. Cette simple question constitue peut-être tout l’enjeu d’une composition musicale conçue dans une réalité sonore urbaine : témoigner de l’identité sonore des villes. Une telle prise de conscience peut sans doute contribuer à révéler la vigueur des lieux dans lequel nous vivons. Il est lauréat de plusieurs résidences et concours nationaux et internationaux.

https://soundcloud.com/orvkns
https://mtwws-orvkns.tumblr.com

1. Timo Kahlen – Essence of Art: Part 1
2. Suzy Angus and Janieann McCracken – Pathfoot Sounds
3. Stuart Russell – Search for the Spirit
4. Seth Rozanoff – Preachersong
5. Selina Springett – Profits [or] Loss
6. gobscure – Chalybeate (aka the bees sleep)
7. Timo Kahlen – Essence of Art: Part 2

1. Timo Kahlen – Essence of Art: Part 1

A conceptual and personal exploration of the essence of art: both thesis and anti-thesis. The essence of art is to make mistakes. True art is (but) deception. Trust me, I’m an artist.

Sound sculptor and media artist Timo Kahlen (*1966) has been creating eye- and earcatching, temporary media sculptures and sound installations for more than 25 years.

http://www.timo-kahlen.de

2.Suzy Angus and Janieann McCracken – Pathfoot Sounds

This year Stirling University celebrates its 50th birthday. We created a sound art installation reflecting the architecture and fabric of the original university building, Pathfoot, as well as staff and students, past and present. The whole project took about a year and the final piece takes the listener through the front door at the start of a day, all the way up and through until sunset.

With grateful thanks to
Professor Gerry McCormac
Jane Cameron
Sarah Bromage
Karl Magee
Euan Kennedy

And everyone who gave their time to be part of the project.

3. Stuart Russell – Search for the Spirit

Some embrace the spirit as a source of comfort but what exactly is this ethereal
entity? Believers and non-believers search for the elusive human spirit. Poetry
by Stephanie Turner. Produced by Stuart Russell with Eyebrow Media.

http://www.eyebrowmedia.com

Stuart Russell is an award winning artist and audio producer, passionate about
creative media. Stuart combines his artistic eye and flair for poetry with
programme making, to create work that excites and inspires the creative mind.
His work features on a variety of platforms including Resonance FM and (in the
past) BBC Scotland. At 22, he was one of the youngest in the country to receive
a British Empire Medal for services to the arts, one of many impressive
accolades.

4. Seth Rozanoff – Preachersong

Preachersong (2012) was realized in the electronic music studios at the Sonic Arts Research Center in Belfast. Audio recordings, which I collected as I walked through the town centre streets of Sao Paulo, were freely arranged, through a process of reflective listening in the studio. My approach in the studio can be viewed as an improvisation; I aimed to create collisions of contrasting environmental sounds. These contrasts seemed to highlight a new intimacy between individuals and their environment. For example, the opening ‘character’, a preacher wandering through the praça de sé, introduces the listener to a new developing environment.

BIO:
Seth Rozanoff is currently living in Glasgow, where he received a Phd at the University of Glasgow. He previously lived in Belfast, Amsterdam, and Sao Paulo after leaving New York City in 2010. Rozanoff’s work sets up a range of performative, musical, and compositional relationships. The resulting interaction is managed through either a range of scores, studio techniques, and live electronic performance. Future projects include, a series of solo works for drum machine, sampler, laptop, and video; a work for percussion and electronics with Ruud Roelofsen; and a piano and electronics work for Adam Tendler.

sarozroz@gmail.com
https://sethroz.wordpress.com

https://soundcloud.com/seth-rozanoff


5. Selina Springett – Profits [or] Loss

This audio piece is from an installation work adapted for radio. It invites the listener to contemplate the conflicting roles of nature, consumerism and an increasingly mechanised, distanced society. It combines field recordings from urban Australian bushland(forest that borders residential city areas) and polyvocal narrations of the net value of the 60 richest companies and the 100 richest individuals in the world, as well as their profit (or loss) of a single day’s trading. Various drones, factory and machine noises as well as the sounds of an Australian supermarket self-checkout evoke a sense the world’s current trajectory towards a post human/post natural existence.

Selina Springett is a Sydney based sound and installation artist and academic. Her work explores ways of representing environmental and social issues through installations, radio, community and public art works. These have been shown locally and internationally, and have won a number of awards.

selinaspringett.com

6. gobscure – Chalybeate (aka the bees sleep)

sound by gobscure / words by sean burn.

of llandrindod wells including chalybeate spring. part of our residency with celf, mid-wales a whiles-back, now extensively reworked & dedicated to all folks celf – past-present-futures. spoken-word comes from a poem published as rust never sleeps in otata april 2017 c.e. https://otatablog.wordpress.com/

completed commission from radiophrenia 2016 – lonecrow make some hullabaloo blends poetry with sound loosely round recurring dream of intense relationship with survivor crow. a previous composition was švejk’s journeyings – responding to obscenities of world war one thru eyes of ‘the good soldier švejk’ premiered at the international artists anti-war exhibition b-side, casarsa della delizia, italy, 2016. other completed soundworks include those for carlisle arts festival; celf mid-wales; cesta czech republic; didsbury arts festival; dragonfly festival sweden; hipersonica brazil; humber mouth festival hull; loudspkr london; arts access australia; odins glow north york moors; new gallery walsall; ultrared

https://yung.cloud/profile/gobscure
https://gobscure.wixsite.com/info

7.Timo Kahlen – Essence of Art Part 2

Here we speak to Henk Bakker and Lukas Simonis of Radio Worm in Rotterdam in The Netherlands.

Mobile Radio offer an overview of independent and not-for-profit community, ‘free’, campus, and pirate stations who provide a wealth of material and perspectives outside of the mainstream media orthodoxy. This series constitutes a major retrospective of the work of the radio art network Radia, whose collective mission is to make radio that transcends the borders and boundaries of land and language. Mobile Radio visit each station in turn to discern their motives and inspirations, and explore the work of one of their associated artists. Produced with support from Goethe Institut.

http://mobile-radio.net/

Feeling frustrated, bored, overworked and unpaid ? Fret no further you are not alone…

The Art and Craft of approaching your head of department to submit a request for a raise was made for BBC Radio Three’s Between the Ears and first broadcast on 8th December 2012.

It is a loosely adapted radio version of Georges Perec’s avant-garde book about asking for a pay rise.

Translation: David Bellos
Narrator: Alain Mayor
Mix: Jean-Philippe Renoult
Producer: DinahBird.
It is a Rocket House production.

DinahBird is a sound and radio artist living and working in Paris. She makes radio programmes, audio publications, installations, and soundtracks. Recent commissions include Dakar Morning Birds, a radio installation that transposed the dawn chorus of the Senegalese capital to an inner city garden in Northern Paris and east Berlin, and Topographies Nocturnes, a radio art project for which she won the prestigious Prix Luc Ferrari. Works have been played on BBCRadio4, France Culture’s Atelier de Création Radiophonique, Resonance FM, Kunst Radio, and through the Radia networkand have been presented at radio festivals in over twenty countries around the world. She has performed live in the Pompidou Centre and the Palais de Tokyo, Paris and is presently employed by the Paris Museum of Modern Art to develop a programme of sound workshops in correlation to their permanent and temporary collections.

http://www.radio1001.org/Members/dinah

Welcome to the Art & Podcast, a podcast that asks “What do you do?” and “Can that be called Art?”. Hosted by artist and performer Ronan Mcmahon, and loyally assisted by
producer Roy Shearer, each episode takes the listener on a conversational tour of a different occupation. We delve into how each guest perceives art and creativity, and to what extent both relate to their day job, all whilst taking a nice walk during their lunch break.

In this episode we ask: can Nannying be called an art-form?

We met up with Giulia, who runs a nanny agency in Berlin, to find out. Ronan risks life and limb once again, being swallowed and spat out by a dragon in the quest for scientific rigour.

Ronan Mcmahon is a stage and radio comedy performer with a passion for the convergence of science and art. He regularly collaborates with Naomi O Kelly as the clowning, storytelling, puppetry, live music and social satire partnership, Two Detectives.

Roy Shearer is a designer and musician, who often consults as a technician to the arts, and occasionally makes his own forays into sound art and interactive installation.

https://soundcloud.com/user-168504138

http://www.naomiokelly.com/portfolio/twodetectives/

http://www.000111.co.uk

Ten stories for the radio – Five collected stories elaborated into five sound tales

Project by Renato Rinaldi Production and organisation by Hybrida Pieces by Slavek Kwi – Eric la casa – Antje Vowinckel – Ward Weis – Giuseppe Ielasi Funded by Arlef / Agjenzie Regjonâl pe Lenghe Furlane Aired by Frioulian local Radio Onde Furlane

Language is a sound, before being a meaning, and it’s the first human element in a soundscape. The stories have then been selectet according to the ability of the teller in using the language in a dramatic way more than for the stories themselves. For each story we have commissioned a music piece in which the recorded tale had to be the core of the composition. Such tranformation could only be possible in the hands of people who doesn’t have access to the meaning of the words. That is why we have chosen musicians the furthest away possible from Friulian geography, culture and language so as to have them relate with a new, as far as this is possible today, sound context. The title literally means cow tongue but it refers to a edible plant: Rumex patientia, known as patience dock, “garden patience”, “herb patience”, or “monk’s rhubarb”, is a herbaceous perennial plant species of the genus Rumex, belonging to the family Polygonaceae. In spring it is often consumed as a leaf vegetable in Southern Europe.

The Friulian language is a mosaic of units, more often micro-units, territorial, each one with its own linguistic nuances and peculiar sound. The development of such peculiarities is the result of a long and continuous exchange with the environment, which each community entertains while setting its roots in a certain area. Language is a sound, before being a meaning, and it’s the first human element in a soundscape. The project Lenghedivacje endeavours at bringing out the sound of the Friulian language, throughout the collection of recorded material concerning historical or personal events. The stories have then been selected according to the ability of the teller in using the language in a dramatic way more than for the stories themselves. The events told are of course significant also as testimony but are especially extraordinary for the way in which they are “spoken” because they are unique and unique is the language they are using. Inside these stories there is a rich musical potential but in order to bring it out we have pushed the language over the wall of sense. For each story we have commissioned a music piece in which the recorded tale had to be the core of the composition. Such transformation could only be possible in the hands of people who could appreciate exclusively the sound of the language thus deprived of its dramatic element linked to sense. That is why we have chosen musicians the furthest away possible from Friulian geography, culture and language so as to have them relate with a new, as far as this is possible today, sound context. The composers selected for this task are people who routinely work with the sound of language and who use the radio as a means of expression investigating its communication possibilities. Each one of them was asked to work on a music composition starting exclusively form the recorded material assigned to them. The result is a series of compositions created from the phonemes (sound bits) of the Friulian language though enjoyable also away from its understanding.

Collected tales
4a – Vilma Boria – Interview collected in Socchieve (UD)
Her life in a farm by the river, she tells about how the water in May “falls in love”.

Elaborated into 4b – iiiooOo by Ward Weis – (Belgium)
i don’t understand any word of the original recording …. so, i took the first and last word of the lady an did some spectral analyse on it.
I could generate new sonic material from this research. it was my scope to make the final edit as long as the original material … so my piece is also 10.43 ( cutted the silences at the begin and end ) where the original sounded quite hard, my version became less harsh, much more stretched and sound as a choir not speaking words only syllables instead.

Renato Rinaldi studied acting, composition and electronic music. He has worked extensively in theater, first as an actor and then as a sound artist. As a musician he has composed music for theatre, radio plays and documentaries, video and sound installations. He is interested in composition applied to the relationship between sound /environment. He has also produced radio plays, documentaries and radio reportages, aired by Radio RAI and Radio France.

(1) Chandeliers – Inside
(2) Mark Vernon – St Columb Major – transmission
(3) Mikromedas – _OGLE-2005-BLG-390-Lb_06
(4) Catherine Street – Whispering In Bournemouth
(5) Alessandro Bosetti – Plane/Talea

So what is your vibration? is a poem and a stream of conciousness. There is fire, lava and molten metal as well as electrical storms, spiders’ webs and votive offerings to the gods. The work is in part inspired by visits to the geology collection of the National Museum of Scotland in Edinburgh. Duration: 15m 34s

http://catherinestreet.net

Supported by Creative Scotland and Outset

1. Adam Paroussos – Mvt. II: Bamboo Mustard
2. Hagai Izenberg – Chronicle 2
3. Jaxton Su Jingxiang – Dreamscape: Prison break
4. Garrett Tiedemann – Last Thursday (in Fragments) Episode 4 – Making Up A Mystery
5. Jamie Livingstone – The Best of a Bad Bunch of Swimmers
6. Bernardo Jiminez – At Night (without her)

1. Adam Paroussos – Mvt. II: Bamboo Mustard

Cosmophonic Fantasia: Mvts I-III (OST)
Cosmophonic Fantasia is predominately a musique concrète film in three movements: I Audio Field, II Bamboo Mustard and III Fractal Reprise. This piece explores the metaphysical and expressive nature of sound and inspired by Sonata form. ‘Audio Field’ uses a collection of montaged film and sound samples and ‘remixes’ them together to turn the everyday experiences of sound into a dream-like sonic experience. Mvt 2,‘Bamboo Mustard’ uses collected fragments of live performances to piece together the journey of this character – Bamboo Mustard. The final movement Fractal Reprise concludes the film, exploring the underlying structures within the natural and sound.

Adam Paroussos is an interdisciplinary sound artist and designer, just graduated from Central Saint Martins, BA Performance Design and Practice. His work is rooted in performative, collaborative and experimental approaches with sound and music. Under his Nova award-nominated alter-ego ‘Bamboo Mustard’, he performs with DIY instruments in a sound costume in the cracks and corners of London. Adam works across theatre, live art and film including composing the soundtrack for Andrea Zimmerman’s ‘Erase and Forget’ documentary and Jotdown’s physical theatre show ‘Haidar’.

soundcloud.com/bamboo-mustard

2. Hagai Izenberg – Chronicle 3

Chronicles is a weekly format of works that attempt to trace the sounds and happenings on a weekly basis and compress them to 4-5 minutes of sonic experience. Fresh raw materials were collected every week including field recordings, samples from radio & tv and recordings sent by listeners of RadioArt program by Meira Asher on 106fm, who featured the project. It includes 6 episodes (total of 30 minutes) of 6 weeks from Oct 6th till Nov 17th, 2016 and attempts to capture everyday sounds together with the daily news & events, tragedies and political discourse next to advertisements and entertainment.

Hagai is a sound artist, composer and musician and a founder member of the electronic duo Rendezvous. Born in 1978, he lives and works in Israel. His work focuses on collecting and combining field recordings together with radio broadcasting, using sounds we’re exposed to every day in the public and domestic spheres, often in passing or involuntarily. The result is a multi-layered restless composition created in real-time, using pre-recorded sound objects and live sources; a compressed sonic experience of our daily lives.

http://www.hagaizenberg.com/

3. Jaxton Su Jingxiang – Dreamscape: Prison break

Dreamscape is an exploration of how sounds in dreams can be translated aurally to form a narrative that could potentially aid in the understanding of the self. It aims to provide the audience with a sonic experience of the artist’s self-portrait as told by his dreams.

Jaxton Su (b. 1988) is a Singaporean Visual Artist, based in Glasgow, UK. He enjoys experimenting with the use of colours in portraying peculiar narratives that delve into the notions of archetypes and the imaginary. Taking inspirations from the natural environment, Jaxton often creates bizarre dreamlike worlds with a whimsical composition of elements to bring across his ideas. Working with a variety of different mediums such as painting and installation, he hopes to create a visual utopia that could form a resonation with others and spark an imagination.

website: http://www.jaxtonsu.net

4. Garrett Tiedemann – Last Thursday (in Fragments) Episode 4 – Making Up A Mystery

In 2015 Don Chambers hosted “a music and other things entertainment” each month called The Last Thursday. Each month had its own theme and governed not only the types of content, but way of presentation for the evening. These evenings lived and died in the moment with very little social media promotion or archiving. In series 2 of The White Whale we offer snippets of these evenings; providing first glimpses beyond the nights of what went down and why their existence foregoing online permanence is important.
Visit http://www.donchambersmusic.com/ for music and more.

Garrett Tiedemann is a radio producer, journalist, filmmaker and composer. He works for American Public Media covering the breadth and depth of composed music for YourClassical and Classical Minnesota Public Radio while also producing films, music videos, music and the podcast The White Whale via his production company CyNar Pictures. As a freelancer, he has lent production and compositional approaches to the podcasts Vanishing Ink, Here Be Monsters, The Organist, ARRVLS, Life of the Law, and Top Score. Additionally, he manages production and strategy for the oral history/storytelling project SisterStory.

5. Jamie Livingstone – The Best of a Bad Bunch of Swimmers

Puddle Rainbows Missed is a poetry EP by Jamie Livingstone produced by future garage and techno DJs Blackboxx and Acidtone. It centres around the idea of the Mandelbrot Set and iterative patterns. How do these forms commune with the brittle, coarse and tender everyday muck? What are people up to with cucumbers? Who knows anyway? It’s poems mixed with samples. It’s sound and shape.

I started writing poetry when Mr Harrington read us Yeats and almost stopped when I heard what age he lost his virginity.
Yeats, that is, not Mr Harrington.
Who knows what he gets up to.
I am 26. Yeats was 31. I live in Oban. I have no children. I have a full set of teeth.

https://soundcloud.com/blackboxxproduction

6. Bernardo Jiminez – At Night (without her)

The Question is one of the longest running projects of this kind in latin america, with more than two decades of constant work. TreesOnComa begun as a side project to -eLaMoRTe-, in order to release under this tag more experimental sound/instrumental pieces and also to offer visual artists the chance to commission sound works for their creations. TreesOnComa has also worked with theatre companies in the past.

https://soundcloud.com/treesoncoma

Alvin Lucier’s “I am sitting in a room” is not just a key work in the history of sound art but also and primordially an example of sonic conceptual art. The piece has often been analyzed from a phenomenological approach, grounded in how sound builds our perception of a space and how, conversely, that same space shapes the sounds we hear when we inhabit it. But Lucier’s piece has a lot more to say. “I am sitting in a room” can be understood as a sonic-work about self-presence and the problematic notion of a speaking subject that, to put in the words of Jacques Derrida, “hears himself speak”.

Lucier himself recalls that one day Cornelius Cardew described the piece as some sort of suicidal act: a sonic device through which his author was trying to make himself disappear by means of erasing his voice. To put it less dramatically, it could be said that Lucier’s famous piece is a brilliant trick of acousmatic escapism. Where did Lucier go? Is he still in the room after his speech is no longer understandable? Has he turned himself into a resonant ghost?

“Am I sitting in a room?” pays homage to Lucier’s almost homonymous work and, at the same time, is conceived as a sonic commentary to the strong conceptual operation that underlies the original piece. The central idea is reversing the process through which Lucier’s piece was created. The voice explaining the process cannot be heard until the piece is close to its end. What we hear is not a voice disappearing but a recorded speech that progressively becomes clearer and easier to understand. Someone seems to be appearing. But does this acousmatic subject (this acousmêtre as Michel Chion would call it) appear completely? Is he fully revealed? The voice sounds strange, like if someone is talking backwards. And, after all, a recorded voice is always a simulacrum of a presence, a ghost. Just as Lucier’s piece couldn’t erase his presence completely, the acousmêtre behind this piece will not succeed in
making himself fully present. So… is he really sitting in a room?

“Am I sitting in a room?” is not just the result of an “artistic attempt” but also and
primarily an exercise carried out in the framework of my doctoral research on Lucier’s piece. When I started working on my philosophy thesis I soon realized
about the fact that “I am sitting in a room” seems to defy a purely theoretical
approach and demands a practical and truly sonic engagement. This is the
reason why, in order to address issues such as those of presence, resonance,
appearance and disappearance, I decided to record this “reversed” and also “interrogative” version of the piece. The final aim of this exercise is not so much
answering the questions that Lucier’s piece seems to raise but to reformulate
them by asking them again in a reverse form.

The full text that will be reversed and repeatedly played back into the room and
finally reversed again when the process is completed is the following one:

I am sitting in a room different from the one you are in now. I am recording the sound of my speaking voice and I am going to reverse it before I play it back into the room again and again. By doing this the resonant frequencies of the room will reinforce themselves and any semblance of my speech, with perhaps the exception of rhythm, will be destroyed. After that I will reverse the recording resulting from this process. What you have been hearing from the very beginning are the natural resonant frequencies of the room articulated by speech. I don’t regard this activity simply as a tribute to Alvin Lucier’s “I am sitting in a room” but as a way to reverse his trick of acousmatic escapism. Just as he seemingly tried to make himself disappear I am trying to do the opposite. And just as Lucier’s piece couldn’t erase his presence
completely this one will not succeed in making me fully present.

Technical Assistant: Jordi Salvadó.

Arnau Horta is an independent curator and investigator specialized in sound and multimedia art. He collaborates with different institutions such as the MACBA (Museum of Contemporary Art of Barcelona), MNCARS (Museo Nacional Centro de Arte Reina Sofia in Madrid), Sónar Festival of Advanced Music and Multimedia Art, Loop Festival, Eufònic, CCCB, CosmoCaixa, CaixaForum, La Casa Encendida and Fostering Arts and Design (FAD). Among other artists he has collaborated with / curated projects by Eric La Casa, John Tilbury, Mark Fell, Francisco Lopez, Thomas Köner, Jacob Kirkegaard, Lorenzo Senni and EVOL. He teaches at the Istituto Europeo di Design: IED and is a writer for the weekly cultural supplements Cultura/s (La Vanguardia newspaper) and Babelia (El País newspaper). He holds a degree in Media Studies; MA in Theory and Aesthetics of Contemporary Art; MA in Contemporary Philosophy and he is currently a PhD candidate in philosophy with a thesis on Alvin Lucier’s seminal piece “I am sitting in a room”.

Guest lectures is a 30 minute presentation designed for a segment within the electromagnetic radiation on Zanj Radio. There is a tension in Jamaica which erupts in contradictions which play out in our daily lives and then spills into the news. Many times ideas goes without interrogation as events occur quickly. New ways of presenting complex ideas are important and necessary. In this lecture I manipulate audio I captured from a Christian led protest in Half-way tree about the threat of the homosexual agenda in Jamaica.

I grew up in Spanish Town, St.Catherine, Jamaica. I attended St.Jago High School and later went to the University of the West Indies to complete a B.Sc in International Relations, an M.Sc in Governance and a PhD in Sustainable Development. I have always admired the critical view my father took towards everyday things and everyday conversation, he was very critical with his primary school education. I was significantly impacted by the creativity of my mother who was a teacher and her love for books and learning.

I live as an artist and a creative grounded in a Rastafarian/African spirituality.

This is a selection of seven shows from ‘radioart106fm’ compiled for radiophrenia 2017. It contains the creations of female Radio and Sound artists.

French sound artist, activist and musician Gaël Segalen aka IhearU has a very diverse experience in sound and is focused on polylistening, dissonance and new music, as well as to create people’s encounters in improvisation spaces. She believes all the noises she has collected or manipulated, can coexist in one inclusive spirit, here and now, and transposes the complexity of the world into electroacoustic and polyrhythmic soundscapes, bruitisme and DFR (Danceable Field Recording) compositions. The reconciliation of all the noises she has collected from her travels is manipulated in the studio, in one inclusive spirit, here and now.

Creations:
Différé / Delayed (2005)
Nowhere Close – excerpt (2011)

http://www.ihearu.org

Produced and presented by Meira Asher, The program’s host station KolHaCampus106fm closed down on August 31, 2017. Between the summers of 2014 and 2017, Meira aired 107 programs and several specials, part of which were Radia.fm member stations productions.

In the aftermath of this agonising farewell, ‘radioart106fm’ is reforming and will reappear soon, starting with a monthly show on Radio Campus Bruxelles in 2018.

http://www.radioart106fm.net/

https://www.meiraasher.net/

1. Adam Paroussos and Tatiana Delaunay – David Bowie spammed me, he says hello dear friend
2. Dixie Treichel
- Solar Eclipse in the Key of Totality
3. Bláithín MacDonnell – Something in Parts
4. Colin Woods – Lie of the Happy Chooks
5. Garrett Tiedemann – Last Thursday (in fragments) Episode 5: Interpretation
6. ETC – Giallo
7. Blake Degraw – Mantra

1. Adam Paroussos and Tatiana Delaunay – David Bowie spammed me, he says hello dear friend (featuring. Tatiana Delaunay, Adam Paroussos)

This piece draws inspiration from Dadaism, a reaction against the advertisement pollution of London.

Adam Paroussos is an interdisciplinary sound artist and designer, just graduated from Central Saint Martins, BA Performance Design and Practice. His work is rooted in performative, collaborative and experimental approaches with sound and music. Under his Nova award-nominated alter-ego ‘Bamboo Mustard’, he performs with DIY instruments in a sound costume in the cracks and corners of London. Adam works across theatre, live art and film including composing the soundtrack for Andrea Zimmerman’s ‘Erase and Forget’ documentary and Jotdown’s physical theatre show ‘Haidar’.

soundcloud.com/bamboo-mustard

2. Dixie Treichel
- Solar Eclipse in the Key of Totality

Sound art piece inspired by the total eclipse of the sun across North America, 8/21/17. It is included on the album Eel Pics ~ by {AN} Eel, A Collection of Solar Eclipse Musics, released 8/23/17 on bandcamp.

Dixie Treichel is a composer, sound artist, theatrical sound designer and radio broadcaster. She is a sonic explorer who likes creating with any and all sounds.
Dixie creates experimental sound art, radio art, audio documentaries, field recordings, acousmatic and electro-acoustic music. She also works with artists in multidisciplinary fields and performs experimental music. Her compositions and sound art have been heard internationally on radio, in art galleries, experimental sound art festivals, new music concerts, theaters and streaming festivals. She is based in Minneapolis, MN, USA.

https://soundcloud.com/dixie-treichel

3. Bláithín MacDonnell – Something in Parts

In a room above a pub, ‘something in parts’ attempts to root narrative in ideas of displacement, storytelling and to rejoin at once disparate but connected parts. The narrative folds and unfolds itself as objects, places and people are assembled and reassembled. Highly descriptive images of locations and rooms attempt to place the audience in the specifics of place both rooting and un-rooting the listener in their current location. The audience is taken into different spaces through layers which appear to be at once fictional and factual.

Bláithín Mac Donnell’s practice explores the relationship between place, person, narrative and fact. Storytelling is used as a way to ground an intangible image and relocate it in the now. The act of storytelling is performed and intertwines with the idea of image making itself so that the narrative becomes images in the mind. The viewer faced with a one person narrative is forced to call upon their own visual realm and remake the image within their own mind so that the space in which the story is told becomes the image. Bláithín completed her BA in Fine Art at Goldsmiths, her MA at The Royal College of Art. Recent performances include The Function Room a gallery above a pub, Tate Modern, a former nucleur bunker in Whitechapel and live on radio for Echo, KtoK fm. Most recently she has presented text pieces at ASP Glasgow.

http://www.blaithinmacdonnell.com
http://cargocollective.com/blaithinmacdonnell
https://soundcloud.com/blaithinmacdonnell

4. Colin Woods – Lie of the Happy Chooks

Assembled from processed field recordings made in summer 2015 at a country house in rural North Island. Tells of the fate of seemingly happy free-range hens.

Colin James Woods is a freelance Sonic Practitioner based in New Zealand. His projects range from sonic art creations, live improvised electronic and acoustic works, through to compositions for conventional instruments and ensembles. He is currently a postgraduate researcher at AUT‘s Colab.

Colin was born in Ireland and came to New Zealand in 2002. He was previously guitarist with Irish punk band Music for Deaf, and participant in UK/Ireland based Allotropes experimental collective. His current interests include experimental music (both composed and improvised), video, song writing and performance, and composition for conventional solo instruments and ensembles.

http://www.woods.net.nz

5. Garrett Tiedemann – Last Thursday (in Fragments) Episode 5: Interpretation

In 2015 Don Chambers hosted “a music and other things entertainment” each month called The Last Thursday. Each month had its own theme and governed not only the types of content, but way of presentation for the evening. These evenings lived and died in the moment with very little social media promotion or archiving. In series 2 of The White Whale we offer snippets of these evenings; providing first glimpses beyond the nights of what went down and why their existence foregoing online permanence is important. Visit http://www.donchambersmusic.com/ for music and more.

Garrett Tiedemann is a radio producer, journalist, filmmaker and composer. He works for American Public Media covering the breadth and depth of composed music for YourClassical and Classical Minnesota Public Radio while also producing films, music videos, music and the podcast The White Whale via his production company CyNar Pictures. As a freelancer, he has lent production and compositional approaches to the podcasts Vanishing Ink, Here Be Monsters, The Organist, ARRVLS, Life of the Law, and Top Score. Additionally, he manages production and strategy for the oral history/storytelling project SisterStory.

6. ETC – Giallo

In English-speaking countries, the term “giallo” often refers to the Italian film genre, a particular style of Italian-produced murder mystery thriller-horror film that usually blends the atmosphere and suspense of thriller fiction with elements of horror fiction and eroticism.
The genre developed in the mid-to-late 1960s, peaked in popularity during the 1970s, and subsequently declined over the next few decades. It has been considered to be a predecessor to, and significant influence on, the later American slasher-film genre.
The word “Giallo” is Italian for “yellow” The term was derived from a series of cheap paperback mystery novels, popular in post-fascist Italy, which were published with yellow covers.

The ETC project combining electro-acoustic experiments and synthetic modulations.

Soft noise, the collateral effect of an urban environment on individuals from a post-industrial society or as many opportunities to transcribe the unspeakable to the sound plane, et cetera et cetera, the worst remains to come …
ETC has toured in Europe, China cetera et cetera

ETC //// Anthony Carcone (bass), Jacques Foschia (radio waves), Harold Schellinx (Korg MS20)

“Atmospheres! Dark, rich atmospheres that quickly sculpt themselves into vast nocturnal worlds so vivid you can see them as you listen”. Guy Maddin

7. Blake Degraw – Mantra

Mantra is an adaptation of William S. Burroughs’ Pistol Poem No. 3. It is part of a series of adaptations in which the composer explores methods of creating sonic analogues of selected poems, as opposed to setting their text to music. All parts recorded by Blake DeGraw and Chloe Wicks.

Blake DeGraw is a composer, performer, bandleader, and sound-installation artist currently residing in Seattle, WA. He studied euphonium performance at the Las Vegas Academy of Performing Arts, and currently studies modern composition at Cornish College of the Arts. He is the director and conductor of FHTAGN, an experimental chamber ensemble that focuses on extremes in spatial dispersion, as well as indeterminacy operations, free improvisation, and alternative forms of conduction within those extremes. DeGraw is also the co-founder of Plancklength, a sound-art collective that explores interactive sound production through installation work and instrument creation.

Blakedegraw.bandcamp.com
Soundcloud.com/blake-degraw

Tru Luv Hz is a recording of an improvised set performed in July 2017 in Bellingham, Washington at the Dakota Gallery. Tru Luv Hz utilizes hand-built light-sensitive microphones, 1980s VHS remote controls, hand-built contact microphones, vocalizations, found sounds, and field recordings from Japan, Cuba, and the USA to weave a narrative celebrating my family’s immigrant status, exodus, and finally re-settlement.

Dana Ollestad is a multi-media artist, curator, educator currently based in Richmond, Virginia. He is a recipient of a VMFA Professional grant, the instructor for a community Super 8mm filmmaking workshop, and co-curator at Sediment Arts, an artist-run gallery space in Richmond, Virginia.

http://www.danaollestad.com

Please mind the gap is the first episode of a new monthly show by Mari Moriko broadcasting on Cashmere Radio. It is an audio collage of sounds from all ages that look toward a feminist future where power structures of all kinds are questioned and dismantled. but how far is this a western-centric ideal and how does it translate to non-western cultures (my focus is on japan) where the binary notion of gender is woven into the language itself. synthesised text-to-speech voices read out texts, manifestos, cd sleeves, user comments, conversations and more, underscored with beautiful pieces by women in electronic music. each show concludes with an episode of “sumatto” (smut – erotic literature for women by women), read out almost unintelligibly by a japanese text-to-speech voice.

lovebomb / terre thaemlitz
lovebomb reading from sleeve
mighty atom theme tune / tatsuo takai
translation
pink lady of north korea
pink lady / ufo
cyberfeminist manifesto
delia derbyshire / dreams excerpt
sacred tapestry / 移住
sumatto

marimatsutoya.com