This is an hour “with” Friedrich Nietzsche, David Bowie, Robert Louis Stevenson, Franz Kafka, Robert Wyatt, John Cage, Joulia Strauss, Tim Piggot-Smith, Benedict Cumberbatch, William Shakespeare, Toog, Ivor Cutler, The Beatles, Nathalie Sarraute, Mamoru Fujieda and Cole Porter. Plus, of course, a certain Mr Momus spinning the scrapbook, spool tools, glue pot and scissors.

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)

Mark Vernon – Deep Sleep Trawler

Synopsis:

A composed dreamscape created from a series of interviews about nightmares and dreams. The voices are combined with atmospheric soundbeds created from processed electronic sounds and field recordings to create a form of non-narrative radio play where dream logic rules. The piece is in part an homage to Barry Bermange and Delia Derbyshire’s 1964 radio work, ‘Inventions for Radio: Dreams’. This piece also includes readings of extracts from the dream diaries of artist, shamen and dream interpreter, Kate Walters, interviews made by Radio Royal volunteers and interviews with members of the FDAMH arts and media group. Thank you to everyone who took part.

Biography
Mark Vernon is a Glasgow-based artist whose work exists on the fringes of sound art, music and broadcasting. At the core of his practice lies a fascination with the intimacy of the radio voice, environmental sound, obsolete media and the reappropriation of found recordings. A keen advocate of radio as an art form, he co-runs Glasgow art radio station, Radiophrenia and has produced programmes for stations internationally. He has published his solo and collaborative music projects through labels including Staalplaat, Ultra Eczema, Entr’acte, 3Leaves, Staubgold and Gagarin Records, as well as a series of small CDR and LP editions on his own meagre resource imprint. His last album ‘Lend an ear, leave a word’ was released on Kye Records in 2016.

http://www.meagreresource.com

For the last five years I have taken a sample from every video I watch on my laptop. As a tip of the hat to William Burroughs and Robert Anton Wilson I take the sample from the 23rd minute. Each sample is arranged and layered chronologically, constructing an aleatory narrative, a random DJ mix of dialogue, music and foley, a self portrait of viewing habits and memory. VHS rips merge with Blu Ray restorations, youtube binges mingle with abandoned box sets.

Barry Burns is not the bloke out of Mogwai, its a different, unsuccessful one. He is the co-manager of Radiophrenia and has used his immense power to give himself the highly coveted 5am slot.

https://akashicrecords1.bandcamp.com/album/from-the-cable-to-the-grave

In it you hear spiritual guru Eckhart Tolle, Howard Devoto, my mother Jo Currie reading Saint Augustine, excerpts from ghost films The Innocents (Jack Clayton) and Whistle And I’ll Come To You (Jonathan Miller), an improvised story I made in 1993, the folksongs of Rambling Syd Rumpo (performed by Kenneth Williams, written by Marty Feldman and Barry Took), some swirls of Georges Auric, an art critic talking about Joseph Beuys, and an extract from A Case For Doctor Morelle, a 1950s radio series.

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)

1. Chin Ting Chan – Katachi I
2. Barry Burns – An Old Guy in Union Square
3. Jean François Cavro – Leh (India 2008)
4. Kala Pierson – Lost Languages
5. Adam Paroussos – Mvt. I Audio Field
6. Katie McMurran – Alone
7. devilsclub – Orwellian Comedy
8. Jan Swinburne – RADIOdomestica

1. Chin Ting Chan – Katachi I

Katachi is a Japanese term that means form, shape or figure. In the ancient game of Go, the word Katachi is used to describe the formation of stones on a Go board (Go is originated from Ancient China, where it is known as Weiqi). The conception of stone formation in Go is transformed to apply to the circulation and combination of sounds and timbre in the music.

Hong Kong composer Chin Ting (Patrick) CHAN has been a fellow and guest composer at festivals such as the International Computer Music Conference, IRCAM’s ManiFeste and the Wellesley Composers Conference, with performances in more than twenty countries. He has twice represented Hong Kong abroad in the International Rostrum of Composers and the ISCM World Music Days Festival. He is currently Assistant Professor of Music Composition at Ball State University. He holds a D.M.A. from the University of Missouri–Kansas City as well as degrees from Bowling Green State University and San José State University. He is currently Assistant Professor of Music Composition at Ball State University.

Web: http://www.chintingchan.com

2. Barry Burns – An Old Guy in Union Square

3. Jean François Cavro – Leh (India 2008)

Sound portrait of Leh – Laddakh (North India) – 2008

https://mtwws-orvkns.tumblr.com

4. Kala Pierson – Lost Languages

Lost Languages begins with fluid loops played by Ilya Temkin on bandura (a Ukrainian lute). Gradually, these loops wash into sounds made from other acoustic-only sources: bowed piano strings, metallic sounds from a piano’s frame and the metal body of a zarb (drum), and processed layers of a human voice saying “shh.” The loss here is meant to be heard as an abstract process: loss of old worlds and knowledge, silencings direct and indirect.

Kala Pierson is an American composer and sound artist. Vivid, expressive, and full of bold colors, her music has been performed in more than 30 countries on six continents, widely awarded and commissioned, and published by Universal Edition. She’s held season-long composer residencies with American Opera Projects, Tribeca Performing Arts Center, and San Francisco Choral Artists. With deep interests in non-western musics, she’s initiated many cross-cultural projects. Born in 1977, she studied composition at Eastman School of Music and now lives in Philadelphia with her spouses and son.

http://kalapierson.com

5. Adam Paroussos – Mvt. I Audio Field

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

6. Katie McMurran – Alone

This piece is an attempt to encapsulate the feelings of loneliness that arise when one is without an “other” and the frustration that comes from dealing with the expectations others place on those who are alone.

Katie McMurran is a sound engineer for broadcast and composer. She uses field recordings, music and text to create sonic landscapes that explore internal dialogs and contemplations. Her pieces have been exhibited with Sound Cafe, New Town Arts, New Adventures in Sound Art and Association Octandre.

7. devilsclub – Orwellian Comedy

“orwellian comedy” is an improvised, abstract, electronic piece made with equipment that harnesses chaos for the purpose of modulation. This piece is a selection from a series of works entitled “aleatoria” I made while on the road travelling this year. This piece was live patched with no overdubs straight to 2 track.

“devilsclub” is my vehicle for transmitting expressions of deeply felt emotions that defy words, and or the intensely absurd. Usually these transmissions are made live to 2 track with no overdubs. I am yet another humble participant in the renaissance of free speech and content that the Internet has made possible. As we rapidly approach the “end of employment” due to the maturing of the “Universal Machine” I have chosen to celebrate this odd time with a few odd sounds. The odder, the better.

8. Jan Swinburne – RADIOdomestica

The Radio series are live improvisation noise music tracks that use random broadcast samples and static as a form of audio aggression and commentary on contemporary broadcast radio experience, but they are mostly about putting random and programmed sound together.

Jan Swinburne is a Canadian artist whose interdisciplinary practice uses traditional and digital media. Swinburne approaches all media from a painter’s sensibility with focus on visual code systems and complexity as an aesthetic framework. Some works evolve into larger site-sensitive installations and projects. An experimental approach to art is central to her practice.

Swinburne’s digital work utilizes image de/re/generation and composing sound. Swinburne has collaborated with like minded international musicians and has screened in Brooklyn/New York City (Experi-MENTAL Festival 6), New Jersey (Filmideo/Index Art Centre), Washington DC (Auditory Learning Experience) and Toronto (VectorFestival). In 2015 she signed with Alrealon Musique.

In the rural community of Molien, in the Marne Valley, people remember two larger than life characters : André le Géant 3 time Wrestling World Champion (iconic face of Obey) and nobel prize writer Samuel Beckett. Nicole Greub, Jacques Roussimoff, Jacques Delaitre, François Musnier, Yvonne Ampen mix their fragmented memories and anecdotes with history. Including archival material, excerpts of wrestling programs with Dédé and plays by Sam.

Commissioned and produced by France Culture : Irène Omelianenko, Inès de Bruyn. Véronique Lamendour and Angélique Tibau. Yann Fressy and Bernard Lagnel – Additional texts and music by V.Vivancos.

Based in Paris, Artist and composer, Valérie Vivancos aka Ocean Viva Silver has been producing sound works for the last 20 years for radio, art events, festivals. Her work is focused on composition, performance scores, situations and writing protocols that interweave life and fiction and trigger ‘curious’ experiences.

http://www.oceanvivasilver.com

Shortly after the invention of the microphone Nazi Germany used field recordings to
strengthen nationalistic feelings. With Yaron Jean.

A series of radio programs By Dani Gal and Achim Lengerer. Originally commissioned by Documenta 14.

The radio is an acousmatic instrument. Listeners do not see the origin of the sound,
their experience is shaped both by the their own interpretation, and the manipulation
of the producer in a political system.

Our programs work on the space between documentary and Musique concrète.
Each show focuses on political events that are connected to acoustic events. This
creates an acousmatic documentary where the programs become sound-objects.
The programs response to the ‘image saturated society’ discourse, by asking what is
the function of sound as a document in times of live video feeds that can be broadcast
by anyone.

Dani Gal (born 1975, Jerusalem) lives and works in Berlin. He studied at the Bezalel
Academy for Art and Design in Jerusalem; the Staatliche Hochschule für Bildende
Künste Städelschule in Frankfurt; and the Cooper Union in New York. His flms and
works have been shown widely, including: Documenta 14, 54th Venice Biennale
(2011), The Istanbul Biennale (2011), The New Museum New York (2012),
Kunsthalle St. Gallen Swizerland (2013), The Jewish museum New York (2014),
Berlinale Forum Expanded (2014), Kunsthaus Zurich (2015) Kunsthalle Wien (2015)
And more.

Achim Lengerer works on political questions of speech and language that he
thematizes in performances, radio plays or spatializes within installations and
publications. Lengerer founded different collaborative projects such as freitagsküche
in Frankfurt a. M. and voiceoverhead, with Dani Gal. Since 2009 Lengerer runs the
Berlin based showroom and publishing house Scriptings. Different Artists are invited
– all of which are working with the formats of script and text within their processes of
production. Lengerer is currently working on his Ph.D. at Goldsmiths, University of
London, UK, on the format of the rehearsal as an actual format for socio-political
negotiations.

https://archive.org/details/radia_s28_n370_radiopapesse-dani_gal_achim_lengerer
https://www.fkv.de/en/content/dani-gal-achim-lengerer-voiceoverhead
http://freymondguth.com/?artists=dani-gal-works
http://www.rampub.com/art/978-3-86442-214-0
http://www.newmuseum.org/exhibitions/view/dani-gal-nacht-und-nebel

This story is about people who try to run away and always find themselves when alone in nature. It is moving thru different cultures and always touching the oneness. Let the ocean hit you and you can hear butterfly wings vibrating thru night sky.

Script, Music, Sound Design, Director: Marko Ahokangas

I do sound art, sound design and music. I am not a sound artist, sound designer or musician. I am dreamer. I try to reflect my dreams for others to experience.

© All rights reserved Marko Ahokangas

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

https://soundcloud.com/ahokangas/guldalan-biegga-i-listen-wind-please-read-the-script

1. Siobhain Ma – you can’t go on indulging yourself
2. Lin Li – The Star (abridged) by HG Wells
3. Matthew Grouse – Only Solace
4. The Doll – Grumpy Gravediggers Amateur Hour
5 Jaxton Su Jingxiang – Dreamscape: PE Climb
6. Garrett Tiedemann – Last Thursday (in Fragments) Episode 3 – No Photography. No Video

1. Siobhain Ma – you can’t go on indulging yourself

https://siobhainma.com/

2. Lin Li – The Star (abridged) by HG Wells

In this series of audio work by Lin Li, abridged versions of short stories in the public domain are created by using the first sentences in all or some of the paragraphs of the original text. The disconnected sentences form a semi-coherent structure within which other sounds are weaved together to accentuate the enigmatic quality of the narrative, providing space for imagination.

Originally from Hong Kong, Lin Li is now based in Scotland. She has been using sound and moving image in her creative practice since 2011.

http://www.linli-art.com

3. Matthew Grouse – Only Solace

“Anxiety is the dizziness of freedom.” – Søren Kierkegaard

As we exit childhood, a pessimism seems to ingrain itself in our social awareness, leaving the sheltered view of the world behind. An unavoidable atmosphere of anxiety amongst the general public fills the air like a dense fog. The various factors that amalgamate to create this feeling and the often surprising methods of alleviation can be extremely sporadic and surprising. The structure of the piece is based around these escalations and descents in the feeling of being overwhelmed.

Matthew Grouse, 21, is in his final year at the Royal Conservatoire of Scotland, studying composition with David Fennessy and Electro/Acoustic composition with Dr Alistair MacDonald. His work regularly combines media and is often concerned with human frailties and the everyday. Another large source of inspiration comes from a variety of arts, especially a love of film. Matthew was awarded the 2017 Kimie Composition Prize which resulted in a commission from Live Music Now, supported by the Kimie Trust. In 2016, Matthew was the winner of the Walter and Dinah Wolfe Memorial Award, adjudicated by Sir James Macmillan.

http://www.matthewgrousemusic.com

4. The Doll – Grumpy Gravediggers Amateur Hour

The Doll has been making hideous solo sounds since 2005. Her no-fi aesthetic is a hit with toddlers. The Doll also has a sideline in field recording, diapercore & household appliances.
She has recently been playing in Seattle noise improv bands TBA & PUNTERS and Auckland bands Septithe & Unknown Tofu. Her US/Aotearoa collective project, Contact Mike, has over 40 band members aged 14 months and up.

“The Doll can be constituted by mixing 3 parts experiment, 4 parts noise, 1 part ritual, and 2 parts theatre, with a pinch of space dust.” – Alt Music

http://www.dadashopping.net/

5. Jaxton Su Jingxiang – Dreamscape: PE Climb

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.

http://www.jaxtonsu.net

6. Garrett Tiedemann – Last Thursday (in Fragments) Episode 3 – No Photography. No Video

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.

1 Jonty Semper – One Minute Silence 1929

2 – Katy Hundertmark – From Before. To Here (16:19)

The experimental soundscape `From Before. To Here´ is a collection of 23 autonomous answering machine messages, linking various moments that now lie in the past. The missed calls were recorded for the exhibition `Ignore The Radiators ́ as part of Glasgow Open House Festival 2017 and represent the result of a durational performance where Hundertmark called her own phone from different places over time. The listener will experience a sonic collage of dissonant sound messages that tell an interlaced narrative made of noise, voices, conversations snippets, silence and field recordings.

Katy Hundertmark (1992, Oman) is a Scottish-German artist with a special interest in the threshold of the visual and performing arts. Her practice explores questions of identity, mostly using her own self as the vantage point and implementation for enquiries into the human condition. Hundertmark moved to Glasgow in 2015 and now holds an MLitt Degree in Photography and Moving Image from the Glasgow School of Art. Over the past years her work has been exhibited internationally in Germany, Great Britain, Israel, Italy and China.

(3) Jason Lesacalleet – Tarnished Copper (Copper Will Never Be Gold)

(4) Jason Lescalleet – I Killed Another Day

Jason Lescalleet assembles recordings to create a narrative meditation on the passage of time and our perception thereof.

Since establishing himself as a preeminent voice in contemporary electro-acoustic study, Jason Lescalleet has exploded the notion of what is possible within the realm of tape-based music. His recorded catalog acknowledges a diversity of application, from lo-fi reel-to-reel soundscaping and work for hand-held cassette machines, to digital sampling and computer generated composition. Lescalleet’s live actions further expand his ouevre to include work with video, dance, performance art and multi-media concerns.

In the past two decades, Lescalleet has gradually and painstakingly compiled a compelling discography on notable labels such as Erstwhile, RRR, Intransitive Recordings, Kye, Celebrate Psi-Phenomenon, Hanson Records, Chondritic Sound, and most recently via his own Glistening Examples imprint. He has collaborated with Kevin Drumm, Aaron Dilloway, Graham Lambkin, Phill Niblock, Joe Colley, John Hudak, Rafael Toral, Thomas Ankersmit, and CM Von Hausswolff, among others, and during this time he’s built a solid reputation for delivering a visceral live experience in concert.

He currently lives in Maine, where he works and operates the Glistening Examples publishing label and the Glistening Labs studio for audio recording and mastering services.

https://glisteningexamples.bandcamp.com/

Supported by Creative Scotland and Outset

sound by gobscure / words by sean burn

rant-north. early this millennia, fleein gunman & endin in the south – homeless then sectioned then hostel – & our first commission proper – to define northern identity (thanks lancaster litfest, lancaster university, andrew hardie visual artist). we chose spokenword-sound-visual-poetry creatively mappin the a66 bisectin our north – from workington to tees port, ‘ordinary (yet extraordinary)’ – twelve wee jewels. now extensively reworked with added rant – collectively sonic commentary showin its no those southern devils who have best tunes – heres power from the houses, streets, moors, coastlines ov north singin still, despite the declared war genst us all

biog : 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

Anne-Laure Pigache & Alessandro Bosetti with the Radiorevolten Workshop Ensemble: Claas Fritzsche, Mark Vernon, Mara May, Bernd Kukielka, Martina Weber, Aileen Wrozyna, Judith Geffert and others.

Recorded on October 23rd in Halle. Special thanks Sarah Washington, Knut Aufermann and the whole Radiorevolten team.

Imagine going back to the first days of radio when tape splicing and editing as well as sound effects and sound processing were not available. Imagine a time when everything was mono and all actors, noisemakers, Foley artists and speakers would gather in front of a single microphone to broadcast in real time. Imagine a sound art piece, a noise composition, a radio play, a radio documentary where all sounds are exclusively derived from the human voice.

While going back to those early times, we are travelling from the future and we are bringing with us all the ideas and aesthetic worlds that new technologies have implanted in us. How can we reinvent the possibilities given to us by technology?
Along these lines Alessandro Bosetti and Anne-Laure Pigache helped develop a collective piece with a fearless group of workshop participants during the massive Radiorevolten radio festival in Halle in October 2016. The live performance happened in a secluded room in front of a single microphone – an original and huge Melodium 42B from 1951 – while the somewhat baffled audience sat in front of a single loudspeaker in another separate room. Where did these sounds come from? At first it sounded as if an amorphous, gigantic monster was trying to extrude itself from the tiny acoustic hole at the centre of the loudspeaker. Eventually as ears grew used to the new situation and learned to project themselves across this sonorous worm-hole a new radiophonic universe emerged, monophonic but wide and deep, physical and textural, populated by abstract stories and characters and inhabited by a beautiful text by Mark Vernon. Bosetti and Pigache have been exploring monophonic real-time radio in a series of workshops titled Hand Made Radio since 2012.

From Gabi Schaffner’s diary : ” Maybe this becomes more comprehensible when I say that the text that sparked up in fragments between the choir of breathers, sniffers, grunts, snorts and moans dealt with a mediation practice that preceded the vocal improvisations. Instead of looking at a mandala the group focused on a speaker. The main body of the text was written by Mark Vernon and interspersed with the observations from other members of the group. As with Bosetti’s former piece, the dynamic of the play grounded in complex patterns of voices that varied in loudness and intensity, that same in pairs, single or collectively. Even though there was zero stereo effect the performance evoked a sense of space and intense interplay. As the piece came to a close the shadowy figures of the workshop members glided into vision with Anne-Laure and Alessandro improvising a slow dance on each side of the still whispering speaker. Applause. “

EDEN3 is a Futures Agenda that assumes a period or grief and reflection appropriate to the anthropocene. Followed by an obsessive attention to living things: playful experiments with experience and subjectivity, new sculptural interface and iterative development of environmental art practices.

Reiko Goto and Tim Collins are environmental artists, working together since 1985.

They embrace an ecosystems methodology, collaborating with a range of disciplines, communities and other living things. They are interested in the ways that art and imagination contribute to practical wisdom and democratic discourse about ethics and human values. The work primarily focuses upon natural public places and everyday experience of environmental commons. An ethical-aesthetic impulse permeates the artwork.

Goto orients herself through an experimental practice of empathic exchange with people, places and things. She completed her PhD in Ecology and Environmental Art in Public Places in 2012. Collins seeks transformative experience and ideas that can leverage small creative freedoms for people, places and things. He completed a PhD in Art, Ecology and Planning in 2007.

They are known for a phenomenological approach to site conditioned public art and a radical democratic approach to post-industrial landscape and ecological restoration. Since 2007, they have been immersed in an experimental approach to the perception and understanding of the relationship between individual trees, greenhouse gases and climate change. They have also begun some new work that examines forests in the 21st Century. They have worked in North America, Europe and Asia.

http://collinsandgoto.com/

http://eden3.net/

Here we speak to Ragnhild Faller and Hans Kristen Hyrve of Radio Nova in Oslo in Norway.

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/

“The kind of things that we fight against everyday but they ignore us, they silence us and they are still doing it.” is a fictional conversation that was initiated to antagonise the problematic system(s) and structure(s) within the institutions.

Through the artist’s personal experience and observation as a woman of color, the work examines, questions and provokes the perpetual rules of powers.

Katherine Ka Yi Liu (b. 1989, Los Angeles) distinguishes herself as an Asian woman who stands robustly as a contemporary artist and activist. Liu grew up mostly in Hong Kong where she began her studies in the Fine Art department at the Hong Kong Arts School. Focusing on Fine Art Sculpture, Liu earned a BA (Hons) in 2013 at the University of Brighton, UK, and she obtained her Masters in Fine Art Practice at The Glasgow School of Art, UK. Since then, she has been actively engaging and exhibiting in Glasgow.

http://www.katherinekayiliu.com

A collage of beat poet performances (by Ginsberg, Kerouac, Bukowski, Dylan) mashed up with music by Minimalist composers (Glass and Reich).

Stuart David is a Scottish musician, songwriter and novelist. He co-founded the band Belle and Sebastian and was a member from 1996–2000, and then went on to front Looper (1998–present). He is the author of the novels Nalda Said and The Peacock Manifesto, published by I.M.P. Fiction in 1999 and 2001. His third novel, A Peacock’s Tale was published by Barcelona Review in 2011.

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.

5a – Mitja Rinaldi – Interview collected in San Giorgio di Nogaro (UD)
A 20-month-old toddler playing.

Elaborated into 5b – Mitjakuti by Giuseppe Ielasi – (Italy)
I have worked very seldomly with voices and words as ultimate source for my compositions. Though in this case the challenge seemed rather interesting. Actually I never considered the issue of language musicality since I’ve always treated all sounds in the same manner. The project’s theme though required a certain regard for the voice and the language. However until the sounds came out of a computer file they seemed untouchable, it was only possible to listen to them for as they were. Maybe what came up to my mind was the simplest, though most awsome, way of transforming the material into a music instrument: I simply changed the sound player by printing a vinyl. The voice thus turned into tool that could be played and manipolated, I was therefore able to exepriment a number of sampling techniques, which are a consolidate baggage throughout many music genres.

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) Ricardo Paraiso Silvestre – Hearing Vibrations (10:01)

Hearing vibrations, when inaudible sound transposes senses and touch goes to hearing. We feel vibrations but we don’t hear them. They are never the less present. Capturing these vibrations with sensors bring these sounds back into the realm of the audible from the sense of touch. These vibrations are transmitted through solids and the sound captured is different for each medium where the vibration is present while the source of the vibration remains the same. This work is based on this premises that although the vibrating source may be the same, the captured sound varies wit the medium. The sounds captured for this work are of the vibrations produced by a small vibrating motor that is placed on various materials thus producing different sounds.

Ricardo Paraíso Silvestre is a sound artist living and working in Oeiras, Portugal. With a degree in plant pathology, he went on to study sculpture at art school and later got a masters in multimedia communication. All of his works have field recordings as a starting point. Both audible and inaudible sounds are used to compose audio pieces. His works have been played in a number of exhibits and radio stations both in Europe and the United States and was part of a CD edition of electromagnetic sound works
audiolandscape.blogspot.co.uk/

(2) Vincent Eoppolo – Reflexivity
(3) Jamie Livingstone – The Signal In The Noise
(4) Sarah Angliss – The Messenger (Crystal Palace Mix)

Jason Lescalleet assembles recordings to create a narrative meditation on the passage of time and our perception thereof.

Since establishing himself as a preeminent voice in contemporary electro-acoustic study, Jason Lescalleet has exploded the notion of what is possible within the realm of tape-based music. His recorded catalog acknowledges a diversity of application, from lo-fi reel-to-reel soundscaping and work for hand-held cassette machines, to digital sampling and computer generated composition. Lescalleet’s live actions further expand his ouevre to include work with video, dance, performance art and multi-media concerns.

In the past two decades, Lescalleet has gradually and painstakingly compiled a compelling discography on notable labels such as Erstwhile, RRR, Intransitive Recordings, Kye, Celebrate Psi-Phenomenon, Hanson Records, Chondritic Sound, and most recently via his own Glistening Examples imprint. He has collaborated with Kevin Drumm, Aaron Dilloway, Graham Lambkin, Phill Niblock, Joe Colley, John Hudak, Rafael Toral, Thomas Ankersmit, and CM Von Hausswolff, among others, and during this time he’s built a solid reputation for delivering a visceral live experience in concert. He currently lives in Maine, where he works and operates the Glistening Examples publishing label and the Glistening Labs studio for audio recording and mastering services.

https://glisteningexamples.bandcamp.com/

Supported by Creative Scotland and Outset

A live-to-air performance from CCA Glasgow. Tickets are free from CCA box office.

http://cca-glasgow.com/programme/radiophenia2017

Sarah Angliss and Stephen Hiscock – Percipient

Theremin, carillon, ventriloquism, percussion and automata feature in this performance inspired by the electrical mysticism in GEO S Hazelhurst’s ‘The Invisible Telegraph of Tomorrow’. Writing in 1887, 14 years before a faint radio signal was first transmitted across the Atlantic, the author prophesized a time when messages would be transmitted around the globe by telepaths lined along the shores of each continent. This musical per-formance will include some reenactments of experiments in chapter 1, Hazelhurst’s trea-tise on thought transference.

Sarah Angliss is a composer, automatist and live performer whose music explores resonances between English folklore and early notions of sound and machines. Sarah’s particularly known for her skills on theremin and recorder and for the robotic instruments she designs and builds to work with her on stage. Sarah also composes for live film scores and theatre, most recently for Eugene O’Neill’s expressionist play ‘The Hairy Ape’ (at The Old Vic, London, and Park Avenue Armory, New York, directed by Richard Jones). She’s currently composing an electroacoustic chamber opera on the life and death of Charles Byrne (with librettist Ross Sutherland, for Aldeburgh Music and the Jerwood Charitable Trust) and creating sounds and music for a live stage version of The Twilight Zone at The Almeida Theatre, London. Her recent album Ealing Feeder was released in April 2017. “The most inventive album I’ve heard in a long while…a testament to Angliss’s imagination and sheer musicality”, Simon Reynolds, 4 Columns, New York. “A highly atmospheric and compelling listen…drawing on a dense skien of real pasts and imagined futures to talk lucidly and provocatively about the present”, Robert Barry, The Wire Magazine.

Stephen Hiscock is a composer, drummer and percussionist, working for film, advertisements, theatre and the concert hall. His works have been performed at the Melbourne Festival, Aardklop Festival (South Africa), Purcell Room, Royal Festival Hall, Glastonbury, Latitude and a national tour of Ghana. Most recently he’s been writing for the theatre. He was composer and live soloist in Complicite’s Lionboy which toured in 2015 to the UK, Hong Kong, South Korea, South Africa and played for two weeks on Broadway in New York. Also ‘X&Y’ – a two-hander with Marcus Du Sautoy and Victoria Gould – produced by the Science Museum and performed at all the major UK festivals. In 1992 he was a founder member of percussion group ensemblebash, performing world premieres of works by Steve Reich, Stewart Copeland, Nitin Sawhney, Django Bates, Eric Whitacre, Imogen Heap, Keith Tippett and Tan Dun. His percussion features extensively on Angliss’ debut album Ealing Feeder. He’s currently on European tour with Mark Eiztel.

sarahangliss.com

stephenhiscock.com

Anthony Autumn & Christopher MacInnes – Interior Ocean

For their new live performance Anthony and Christopher will be generating a semi-improvised composition of vocality and soundscaping. Drawing on writings and field-recordings gathered over the past year, they will create an immersive and disorientating journey through an imagined sub-aquatic landscape.

Interior Ocean is a slow crawl through the jellied monoculture swamping the petrified machine-scape of global capitalism. Originating from a fascination in the unique biology of jellyfish and the strange relationship they have to globalisation, the performance will explore the complex entanglement between built and natural ecologies. Both collateral interference and agent of globalisation, the jellyfish becomes a parallel entity for the SSRI-infused emotional labourer, the symbiotic host of insomniac-twitching, 24 hour on-screen living.

Anthony Autumn is an artist whose varying practice centres on writing and collaboration. Previously a dedicated performance poet and editor-at-large of HOAX publication, Anthony currently programmes and runs art and creative writing workshops and contributes written and spoken work to publications, exhibitions and events.

Christopher MacInnes is an artist based in Glasgow. Working across computer-generated animation, installation, sculpture and computer programming, MacInnes draws on visual languages from consumer technology, the corporate web and science fiction.
Through the creation of immersive environments, both online and IRL, he explores the heavy infrastructure of information based cultures against the glossy hyper-texture of our luxury-tech devices with the aim of articulating the practice and nature of being human in a simultaneously industrial and intangible environment.
Recent shows and projects include SPORES OF LOVE, David Dale Gallery (Glasgow 2017), 4k made me sick (ArebyteLASER, London), (Retina Gothic, Intermedia, CCA (Glasgow 2016), Small Gate, Infinite Field, Generator Projects (Dundee 2015) and Boot Signal, Embassy Gallery (Edinburgh 2015).

anthony-autumn.co.uk
hoaxpublication.co.uk
christophermacinnes.com

Carrie Skinner – woah oh oh oh, on the radio -adio -adio

This new visual performance for the radio woah oh oh oh, on the radio -adio -adio, develops out of an attempt to synchronise the individual and collective rhythms of its multiple and variously located live and future audiences, by pulling them together into the shared aspirational forever of a disco lyric.

Carrie Skinner lives and works between Glasgow and Berlin. She is into figuring out contemporary cultural relationships with time and its multiple concepts through popular imagery and themes from Gothic and Science-Fiction genres. Ghosts, telephones and disco music haunt her practice, playfully illustrating the academic discourses of spectralities and liveness while testing the limits of the transitory relationship between audience and performer. She reluctantly makes solo performances for expediency and economy, and seeks out scenarios that anticipate spectacle and demand virtuosity but probably expose her failure and amateurism. Recent performances include; Lutz Mommartz retrospective for Transit Arts, Glasgow, 2017;Nowhere for TAKE ME SOMEWHERE, Tron Theatre, Glasgow, UK 2016, Time Isn’t Holding Up Time Isn’t After Us, Old Hairdressers, Glasgow, 2016; Cherry Picker at Rhubaba, Edinburgh, 2016. Published work includes; ‘there’s something happening somewhere: a score for a rehearsal or a re-enactment’, The Burning Sand VI ed. Sarah Lowndes, Glasgow, 2016; ‘Mary This One’s For You: A Romantic Drama in Three Acts’, Gnommero: Multiplicity ed. Sarah Tripp and Richard Taylor, Glasgow, 2015.

Supported by Creative Scotland and Outset

This 60-minute immersive soundscape contains real-world sounds from places near to where I live in Fife, Scotland. Parts 1 and 3 feature poet Ben Aitchison and musician Frazer Stockton, whose parts were completely improvised. The piece was first broadcast on NTS Radio in October 2016.

Part 1 – Encroaching Shadows – featuring Ben Aitchison, vocals and Frazer Stockton, guitar.
Part 2 – Distrate Encounters
Part 3 – Amaranthine – featuring Frazer Stockton and Ben Aitchison
Part 4 – Tenebrosity
Part 5 – Phenomenon of Time

Mark Small is a cultured sound artist, engineer, producer and film-maker, with a talent for audio visual installation creation. Digital media expert and creative thinker, with a deep understanding of the community benefits of art. Previous bodies of work have focussed on community based projects with a participatory element.

https://marksmall.art/
https://soundcloud.com/markasmall

“100 Books” is a work for 100 voices, and consists of a marathon reading of 100 variations of the same poem, all of them written by John Bently. It is a collective act, a celebration of the power and commitment of released words, an elegy to the song, the poem, the human voice. It is a reminder that no matter how ferocious the tyranny, there are some things that cannot be erased, burned, suppressed, enslaved, imprisoned or silenced. You can kill the singers but never the song, once sung.

Featuring the voices of (amongst others):

John Bently
Amanda Palmer
Iain Sinclair
Brian Catling
Ben Rivers
Carol Chant
Mikey Kirkpatrick
Gareth Evans
Marcia Farquhar

Chiara is a filmmaker working with animation, experimental film, documentary and sound to explore the ways in which we perceive, remember, articulate and preserve personal and collective histories and place through the filter of memory and the imagination.
Chiara is also the founder and curator of The Light & Shadow Salon, a monthly film night at The Horse Hospital in Bloomsbury.

http://www.acuriousroom.com

John Bently is an artist, performer, poet and bookmaker. He has published 54 books for his Liver & Lights Scriptorium, all of them exploring and illuminating the poetics of the small and marginal.
His books are often transformed into songs and performed live with his band Bones & The Aft.

http://bonesandtheaft.blogspot.co.uk/?m=1