This episode mixes Pimsleur language-learning exercises with the ghost scene from Satyajit Ray’s Goopy Gyne Bagha Byne, Lavinia Greenlaw’s verse take on Wagner’s Tristan and Isolde, Serge Gainsbourg in Morocco, documentaries on the Silk Road and the burning of the great library of Alexandria, an interrupted newscaster, a troglodyte musician, and the music of ancient Greece.

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)

Miriam Schikler recorded sound fragments from the reality of state violence against
Palestinians in the West Bank as means of activism and music making.

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

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

Here we speak to Marianne Crousillac and Jean-Baptiste Imbert of Radio Grenouille in Marseille in France.

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/

“Concept Bongo”‘s completely minimal logic is not exhausted in the fact that it is an album that is only played with bongos. Because beyond this conception, the music we find in its thirty minutes is characterized by a mystagogic feeling which, through an abstracted and repetitive ambience, keeps you totally transfixed, marginally helpless to react to it. References to the musical culture of the percussion instruments are stimuli left to the listener’s own discretion: you can understand “Concept Bongo” as raw material for spiritual escapees, study it as pure improvisation or regard it as an exercise on style, even. Anla Courtis has studied classical guitar, piano, theory and composition, but here he plays the role of the abstract percussionist, with all the rhythmic liberties of a contemporary improviser. “Concept Bongo” is like one of Zeitkratzer’s dreams for the organic performance of electronic music, with Pauline Oliveiros’ spirit being unable to escape the studio. And now I know what I will be listening to after Jon Mueller’s “Metals” or Paal Nilsen-Love’s “Cut and Bleed”.

Anla Courtis is a key figure of contemporary avant garde. He began in 1993 in Buenos Aires, co-creating Reynols, an experimental band in which he played the electric guitar, with which he released more than 100 vinyls and cassettes. A small number compared to the huge volume of his personal releases, as well as his collaborations with over two hundred artists of the experimental sound.

https://coherentstates.bandcamp.com/album/concept-bongo

1. Adrienne Lilly and Thom Cote – old rooms and birds
2. Gregory Kramer – Barbed Wire V
3. Alexis Weaver – The Odd Forest
4. Hoagy Houghton – Radio Photographs
5. Blake Degraw – Triple Quartet
6. Amanda Johnson – On High Wheeldon

1. Adrienne Lilly – old rooms and birds

This is about truth, in a way and about spaces in another. This is a collaboration between Thom Cote and Adriene Lilly.

Adriene Lilly is a sound designer in Brooklyn, NY.

http://www.adriene.net

2. Gregory Kramer – Barbed Wire V

Barbed Wire V is a selection from Barbed Wire, an album of soundworks composed from barbed wire fence recordings I made while in the bushveld of the Limpopo province, South Africa.

Gregory Kramer is a multidisciplinary artist working with sound and space. Taking inspiration from his archaeological curiosity of abandoned places and his interest in mythology, he searches for ghosts among the ruins and seeks to unearth evidence of forgotten histories through sound. His sound work uses field recordings, found materials, electronics, instruments and radio transmissions. His work was featured in the Sonom International Sound Art Festival, and he recently composed for a dance piece performed at the Setia Darma Museum of Masks and Puppetry in Bali. He has album releases on Impulsive Habitat and International Winners.

http://gregorykramerstudio.com/

3. Alexis Weaver – The Odd Forest

The limits of the stereo sound space are explored from bottom to top in this peculiar landscape, created from the sound of a child’s wind-up unicorn toy and the carols of wild synths. The listener is dropped into an otherworldly forest which is alive and seething with fast-moving creatures; friend or foe, you never can tell… This piece is part of a larger suite of works drawing on the sounds of childhood toys.

Alexis Weaver is a young electroacoustic composer based in Sydney, Australia. Growing up close to the pristine beaches and landscapes of Jervis Bay, Alexis is fascinated by sounds of the natural world. By fusing her classical education with music technology, Alexis aims to create powerful abstract works and bring the wonder of sound to new audiences.

Alexis has composed soundtracks for animation, short stories, radio, and the Sydney Fringe Festival. Recently, her acousmatic and radiophonic works have been broadcast overseas in France and Scotland. Alexis was awarded First Place and People’s Choice Award in the 2016 and 2015 University of Sydney Verge Awards respectively for her acousmatic works. Alexis’ 2017 work, Spin, will be included on RMN Classical’s upcoming album, Electroacoustic and Beyond Volume 2.

https://soundcloud.com/alexis-marie-weaver/

4. Hoagy Houghton – Radio Photographs

Like so many of us, Hoagy Houghton has a compulsive, and at times, perplexing need to take photographs. In a bid to understand why he is seemingly so dependent on the visual image, Hoagy has removed the image itself from his photography, presenting an ongoing exhibition of observations and interpretations to photograph’s he has taken. Here, Cody Lee Barbour, Joel Cox and Aimee Elizabeth Skelton take on the task of describing three of these photos. It is Hoagy’s intention to give the listener creative freedom in viewing each image and to encourage them to consider their own engagement with imagery and sound.

Hoagy Houghton is a London based artist, interested in understanding the poetics of the senses.

Cody Lee Barbour has a fondness of soft drinks & spaghetti with the aim of inspiring fuzzy heads. Currently working & writing words in the UK after a warm sabbatical in Perth.
Joel Cox is a radio producer, musician and co-creator of the podcast London Compass Radio. He lives in Glasgow.

Aimee Elizabeth Skelton grew up in Falkirk and now lives in Glasgow, where she works in a soap shop. She holds a BA in English from the University of Strathclyde, and was the winner of the 2016 Peggy Grant Award for her dissertation on sound poetry. She has been performing her own poetry around Glasgow since the age of 16, and has been published in journals in Scotland and Canada. She is currently involved in a project with Paisley Pen & Paper facilitating free creative writing workshops for mental wellbeing.

5. Blake Degraw – Triple Quartet

Electronic Duodecet for Humans is a four-movement recording experiment conceptualized, executed, and recorded by Blake DeGraw. It explores reaction as a generative device. Each movement contains twelve overdubbed layers of the performer listening and reacting to aural stimuli that only he can hear (through headphones). The nature of the performer’s interactions with these stimuli changes with each four movements, ranging from harmonization to gestural imitation to direct mimicry.

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

6. Harry Moore – Bells of Verdelaise

Walking in France into the Bordeaux region I entered Verdelaise as the call to mass bells rang out, resonating off the stone walled town. I could physically feel the sound waves as I sat and recorded them, this treatment is my interpretation of the experience and includes some of the raw untreated recording.

http://www.harrymoore.net

7. Amanda Johnson – On High Wheeldon

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.

1. Jenna Collins – Visual Sequence
2. Kala Pierson – Chikatilo Arc
3. Josh Carro – [[[man muzzle]]]
4. Kevin Logan – The Sounding of Plastic and Paper
5. Kamen Ivanov Nedev (a.k.a Acoustic Mirror) – Ghostwalk 02 – Estépar
6. Blake Degraw – Migrations

1. Jenna Collins – Visual Sequence

A visual sequence.

Making appreciable the non-technical aspects of technology; the comedic, romantic and desirous impulses it produces. Recent activity includes: residency at The Bergman Estate in Sweden; solo presentation at Quick Millions, London; screening at the BFI 59th London Film Festival and performances with Rachel Cattle at the ICA and Paul Carr at Modern Art Oxford

http://www.jennacollins.com

2. Kala Pierson – Chikatilo Arc

Chikatilo Arc comes from my work making audio for an experimental play in which the actors spoke only source texts (or slightly modified source texts) by the subjects of the play. One subject was Andrei Chikatilo, a serial killer who lived in mid-20th-century Ukraine. In this piece, the sound sources are actor Dan Maccarone portraying Young Chikatilo; a processed “Shh” sound; and Ilya Temkin playing bandura, a Ukrainian lute.

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.

kalapierson.com

3. Josh Carro – [[[man muzzle]]]

[man muzzle] is an audio representation of our perceived processing of time. involving the audio documentation of field recordings of Los Angeles which can be anything that exists in the time bound space perception, i am connecting the sound documentation of the landscape into an art work that represents time in it’s most natural perceivable form.

josh carro (b. 1982-) is a multimedia artist who works with simple materials, complex sound processing, and noise. Based in Los Angeles, carro started a disciplined practice in percussion at an early age and became obsessed with visual art, metal music, jazz, percussion, electronic, recording, and experimental music composition. carro has performed in countless spaces and recordings across the U.S., Canada, and Europe with sound work performances and commissions by The Futurist Intoners in The Cleveland Museum of Art, Singapore Art Science Center, Laurie Anderson, Rat Bastard, Ehnahre, Blood Oath, UC Berkeley Cellist Ensemble, Wild Rumpus, What’s Next? Ensemble, Now Hear Ensemble, Ulrich Krieger, Vicki Ray, and Susan Allen. As a recording artist, carro has recorded his and many other works at Capitol Records, T.V. Stand Studios and has released multiple electro-acoustic albums on labels including: XI Records, H.L.M., Somehow Recordings, Vent, and Ephem-Aural.

4. Kevin Logan – The Sounding of Plastic and Paper

This is a mumbling examination of the deliberate crushing crumpling of a plastic water bottle which has become a stock device in my recent presentations. It is often the first act or action that I engage when taking my place behind a speaker’s podium, or other such staged space.

It is intended to set a register for what is about to happen. This obstinate-object sounding is a slightly uncomfortable ‘doing’. Its role is a comedic misplacement, a slightly subversive and almost unhiemlich deed. As a rule, the cheaper and less reputable the brand of bottled
Kevin Logan is a Manchester born artist based in London, UK. His work embraces cross-disciplinary fields and incorporates installation, sound, moving-image and performance. He has exhibited and performed internationally, had audio-visual works screened in festivals worldwide, and had sound works on compilation CDs.

He is currently a part-time PhD candidate with the research organisation CRiSAP (Creative Research into Sound Arts Practice), University of the Arts London. This practice-led research explores the sonic through mediation, performance, and pedagogic and curatorial outcomes. His theoretical and experimental texts have been published in print and online, and he presents regularly at conferences and symposia.

http://www.kevinlogan.co.uk

5. Kamen Ivanov Nedev (a.k.a Acoustic Mirror) – Ghostwalk 02 – Estépar

“Ghostwalk 02 – Estépar” is based on field recordings made in Monte de Estépar, in the Spanish Province of Burgos, in July 2017. Monte de Estépar is a beautiful small holm oak forest, and is also the site where 327 citizens were assassinated by Franco’s Regime during the Spanish Civil War, and were buried in a series of common graves.

Ghostwalks is a series of works which explore the relationship between soundscape, historical memory, and public space. The locations are usually important sites of memory, and the work mines the in/audible spectrum of sound captured in these locations.

Kamen Nedev is a sound artist, flâneur, and independent cultural producer. Since 1986 he works and tries to live in Madrid, Spain. Under the Acoustic Mirror moniker, since 2005 he has been working on a line of research in phonography, sound art, and radio art, with an emphasis on the soundscape of urban space as well as social sound production, situated listening, and militant sound investigation.

http://acousticmirror.tumblr.com
http://soundcloud.com/acoustic_mirror
http://self-noise.tumblr.com

6. Blake Degraw – Migrations

Electronic Duodecet for Humans is a four-movement recording experiment conceptualized, executed, and recorded by Blake DeGraw. It explores reaction as a generative device. Each movement contains twelve overdubbed layers of the performer listening and reacting to aural stimuli that only he can hear (through headphones). The nature of the performer’s interactions with these stimuli changes with each four movements, ranging from harmonization to gestural imitation to direct mimicry.

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

This work results from an unofficial residency and covert micro FM transmission at The Lizard Wireless Telegraphy Station, Cornwall: site of the first ‘over-the-horizon’ wireless communication by Marconi in 1901.

The work draws on field-recordings from a local landscape haunted by the architecture of listening and communication: the looming pulse of the Lizard Lighthouse foghorn, the automatic Morse of loose wires and antennas at Poldhu (site of the first trans-Atlantic wireless transmission). The piece opens with the di-di-dit, of Marconi’s test signal as performed on the station building and a derelict radar room at RAF Pen Oliver.

Sebastiane Hegarty is an artist, writer and lecturer. His practice explores the relationship between time, place and sensation, primarily through field-recording and soundscape composition. His work has been exhibited and broadcast across the UK and Europe: It’s Eating You, (IMT Gallery, London, 2015), and Heliocemtra, (Museum Punta della Dogana, Venice, 2016). In 2015 he curated the multidisciplinary conference, Chalk: time, sense landscape. More recently he contributed to the Sound of Memory symposium at Goldsmiths, London (2017). Published through Impulsive Habitat, Gruenrekorder and Very Quiet Records, works for radio include, It’s Just Where I Put My Words, (BBC Radio 3, 2013).

The Student Movement of Venice tried to sabotage the 1968 Biennale while David
Lamelas was changing the system from within. With David Lamelas and Ciara di
Steffano.

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

(1) Ralph Lewis – Fearless Reception: What Was The Hardest Part

(2) WE ARE THE SAME, WE ARE THE WORLD is an audio collage made up of every day sounds and interviews, intertwined with sounds from a range of countries and cultures. It features members of the 16+ programme at Glasgow Clyde College – the only one of its kind in Scotland, aimed at supporting unaccompanied young asylum seekers and refugees from a range of backgrounds and countries. It is a specialist ESOL (English for Speakers of Other Languages) course which incorporates creative arts, outdoor learning and extensive guidance. This year’s class, with an age range of 16-19, is made up of 22 young people who speak over 10 different languages. They have come together with the creative collective SISTER, to produce their own radio work for Radiophrenia, inspired by and featuring sounds of their home countries and what they hear in their new home of Glasgow.

Those taking part are: Abel, Sabrina, Yacob, Sarah, Senait and Kokob from Eritrea; Ahmed from Sudan; Burhan and Rahima from Ethiopia; Ming, Jie and Ling from China; Vero and Neron from Congo; Yacoub from Kuwait; Huong, Hoang and Cuong from Vietnam; Farid and Ishanullah from Afghanistan; Sharjeel from Pakistan; and Sarkawt from Iraq.

SISTER are a creative collective formed by Cass Ezeji and Siobhain Ma. Their work primarily explores the experiences and challenges facing mixed race Scottish women, along with questions of identity and establishing a connection with their respective backgrounds (Nigeria, Hong Kong, Ireland and Scotland) from a distance.

Produced by Siobhain Ma and Cass Ezeji.
(17:37)

(3) Ralph Lewis – Fearless Reception: What is Reception Like Today? (06:39)

These two selected movements from “Fearless Reception” feature different iterations of Ileana Merary’s musical creativity, storytelling, and advocacy. In “What Was the Hardest Part,” Merary’s recorded interview is gently processed and is accompanied by a live, indeterminate violin part. In Merary’s version of “What is Reception Like Today,” she and Rogue Trio use Ralph Lewis’s composition as a platform to combine Merary’s poetic text about a tense encounter with police and a song she composed about remaining calm in the face of the anxiety these experiences.

Fearless Reception is a series of pieces explicitly designed to inhabit radio and concert spaces as it aims to raise up immigration narratives from Arizona and promote inclusivity in our country. It is a collaboration between the Rogue Trio, singer/composer Ileana Merary, the Florence Project (www.firrp.org), and composer Ralph Lewis. Earlier performances/broadcasts have included support from Slate Arts Gallery, The Herberger Institute of Design and the Arts, WEFT 90.1-FM, and WGXC 90.7-FM.

https://ralphlewismusic.com/

(3) Hieroglyphs – Crystal Spheres

siobhainma.com

(4) Steven Trimmer – Department of Tones Epsiode 3: Beautiful View

(5) TreesOnComa – ‘its 3am…..and now…..who’s going to save me’.

(6) Pytchblend – Mirk

A collaborative sound/photo work by Luke Fowler and Richard McMaster. Starting at sunrise on Saturday 9th September 2017 Fowler and McMaster walked the length of one of Glasgow’s oldest and longest Roman roads; Great Western Road (GWR). Beginning at St. George’s X they made timed 1minute recordings, every 7 minutes, until they reached a point (near Old Kilpatrick) where it became too dangerous to continue on foot. Using identical location mixers and the same Mid-Side microphone configurations- McMaster walked and recorded on one side of the road whilst Fowler recorded on the other. They both recorded as prompted and by the agreed fixed structure- with no plan or anticipation of capturing any specific sound events besides the road itself. The two discreet, yet synchronised recordings are then brought together in the editing process and panned hard left and right to create a wide stereo image of the road’s soundscape on that day. The Great Western Road documents the city slowly awakening and traverses a cross-section of neighbourhoods and terrains from St. George’s X and Kelvinbridge to Anniesland and Duntocher. It crosses the River Kelvin and passes alongside Botanical Gardens and Gartnavel Hospital before reaching the A82 motorway. The Great Western Road is a major route for commercial traffic and also the means for the citiy’s’ inhabitants to escape on daytrips to Loch Lomond and beyond.

Richard McMaster is an artist/musician – he lives and works in Glasgow (UK).
Luke Fowler is a filmmaker/musician – he lives and works in Glasgow (UK).

Supported by Creative Scotland and Outset.

1. Reuben Telushkin – 2067
2. Vincent Eoppolo – Self Portrait 2017
3. Garrett Tiedemann – Last Thursday (in Fragments) – Season Preview – Quote Me
4. Barry Burns – when my husband dreams
5. Martin Heslop and Helen Tookey – Jitties
6. Valery Mikromedas – OGLE-2005-BLG-390Lb_08
7. Rolando Frias – Musa de asfalto
8. Paco Dvoi – Purest State
9. Sydney Kasahara – ATMO_UNDERG_FACIL
10. Vincent Eoppolo – Dream Sequence
11. Matthew Grouse – Trio: mvt 1.

1. Reuben Telushkin – 2067

2067 is a 15-minute sound piece dealing with the theme of the 50th anniversary of the 1967 Detroit Rebellion. Weaving samples, speech clips, sound effects, into news reports into a single sonic narrative, the piece explores what has changed and what hasn’t in the 50 years since the rebellion, and looks 50 years into the future to imagine a future in which liberation has taken place.

Reuben Telushkin is a sound and visual artist based in Detroit, MI. He builds interactive electronic music installations utilizing tangible interaction and rapid prototyping technology. Reuben’s work is an exploration of the convergence of time and space in number, using sound and geometry to illuminate those connections. Much of Reuben’s work is concerned with the role of technology in Black popular culture.

https://soundcloud.com/reuben-telushkin/2067a
http://www.reubentelushkin.com

2. Vincent Eoppolo – Self Portrait 2017

I view my works as a synthesis of various sound art traditions including musique concrete, acousmatic music and radio art.

In my work I strive to present brief moments of the world we are living in. Society in the continuing process of realizing itself. Our relationship with each other, with technology, our morality, spirituality, sexuality, our anxieties and fears. In many ways my works are like sociological and psychological commentaries. My work has been featured on Bernard Clarke’s program Nova on RTE’s Lyric FM, Phaune Radio from Montpellier, France as well as Radio Art International on CHOQ Radio in Montreal. My works were recently presented at the 2017 New York City Electro-Acoustic Music Festival.

https://soundcloud.com/societys-realization

3. Garrett Tiedemann – Last Thursday (in Fragments) – Season Preview – Quote Me

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.

4. Barry Burns – when my husband dreams

Found reel to reel tape.

5. Martin Heslop and Helen Tookey – Jitties

These three tracks, Jitties, Beautiful Error and Glasshouse, are part of an ongoing collaboration between poet Helen Tookey and composer Martin Heslop. While the original texts use fragmentation to try to convey a particular experience – a sense of the language sliding, piling up, or of a mind going over and over a question – the fixed, written work can only create this effect to a limited extent. Here, the words are cut and spliced, repeated and layered to make the language move and track over itself, while the soundbeds pulse and shimmer, creating a texture of volatility and urgency.

Helen Tookey is a poet based in Liverpool. Her debut collection Missel-Child (Carcanet, 2014) was shortlisted for the Seamus Heaney first collection prize. Her pamphlet In the Glasshouse was published by HappenStance Press in 2016, and the CD/booklet If You Put Out Your Hand, a collaboration with musician Sharron Kraus, was released by Wounded Wolf Press in 2016.

Martin Heslop is a composer and writer based in Newcastle. He has written scores and lyrics for short and full-length theatre shows and film, and has worked on many collaborations with poets, playwrights and visual artists for live performances, recordings and installations.

https://helentookey.wordpress.com
https://martinheslop.wordpress.com/

6. Valery Mikromedas – OGLE-2005-BLG-390Lb_08

Mikromedas is a data-driven musical project in which compositions are elaborated using data from space, deep space and numerical simulation models related to various astrophysical phenonoma. Compositions in the project are produced using source material that consists of sampled (live) radio astronomical data (e.g. data as recorded by several spacecrafts such as Voyager1, Voyager or registered data emitted by various pulsar stars which is over 22000 years old), observed and simulated numerical astrophysical data streams turned into sounds using newly developed sonification techniques.

Dr. Valery Vermeulen is an electronic musician, mathematician, new media artist, author and visiting professor at the Art & Technology dep at Erasmus University College in Brussels (BE). He holds a Phd in pure mathematics from Ghent University (BE) as well as a masters degree in Music Composition at the Royal Conservatory of Ghent (BE). Since 2003 Vermeulen has been working on various multimedia projects where the interaction between man, machine and mathematics plays a central role. His work covers a broad range of disciplines including generative art, algorithmic music composition, (generative) sound synthesis, affective computing, astrophysics and data sonification.

7. Rolando Frias – Musa de asfalto

Produced in 2002 by Alejandra Tapia and Rolando Frías
Spanish Language. Sound experimentation of poems related about to life in big cities. Quito, capital of Ecuador, brings stories of different authors who in short poetry expose the daily life of the streets, homes, environments and passing the days surrounded by the cold cement in which they live.

Audio producer born in Ecuador, during my professional career I was involved in the creation and coordination of cultural and musical events. As a sound engineer I was involved in a few recording projects in close cooperation with Ecuadorian hip hop and rock alternative stage. My interest in music and my profession as a sound engineer was closely connected to my involvement in social and community projects. I am a board member of an NGO working in the defence and wellbeing of Amazonian rainforest. I was the creator and coordinator of the festival Amazonia Indomable.

8. Paco Dvoi – Purest State

“Purest State” explores the way in which a person can desire to escape into a rural environment but yet be mentally trapped in an urban reality. With a touch of humour, this spoken word piece highlights the kind of conditioning that can make a person prefer elevators, drug stores, and internet love, over nudity in nature and the joy of peeing from an ancient tree “while high on fragrant breeze”.

Between 2001 and 2007, Paco Dvoi fronted Chilean rock band Toximetro, performing in dresses and ripped stockings while singing mainly in English. The band released an EP titled Euphoproctox: EP Infusion. In 2007, Paco returned to Toronto where he completed a B. Ed. and wrote songs on an acoustic guitar. In 2012, he released a solo album titled Shades of Dysphoria. In 2015, Paco released Morphogenesis, songs and spoken word featuring a variety of guest musicians. Paco Dvoi’s work is poetically-inspired and reflects light and darkness in its incisive portrayal of people and situations rooted in an imperfect world.

https://pacodvoi.

SUPERMODEL is a programme of contemporary art and music happening in Edinburgh.
Organiser Lindsey invites guests to discuss their practices in sound, play selected music,
and perform works live on-air.

Here we speak to Pierre de Jaeger and Damien Magnette of Radio Panik in Brussels in Belgium.

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/

Steppes, deserts, and high mountains dominate the region of Cuyo in west Argentina. The fragile water infrastructure forms an audible contrast in this barren landscape, creating fertile valleys and oases, rich with vegetation. The condensed soundscape moves between these extremes of “naturally dry” and “artificially wet”. The silent landscape elements were articulated through improvisation on site: hunks of earth fly through canyons, ebbing water crackles across salt deserts, small wood chips fall on cactuses, sand trickles down heaps of metal. All composed sounds are unprocessed (except gentle equalization).

Ludwig Berger is a composer, sound artist and research associate at Institute of Landscape Architecture of ETH Zurich (Switzerland). He is currently interested in absences, acoustics, alphabets, amplifications, architectures, cartographies, collectivities, darknesses, dissolutions, glaciers, infraordinaries, memories, microphonies, presences, psychogographies, radiophonies, teleperceptions, temporalities, thing-powers, transects, walks and winds.

http://www.ludwigberger.com

An audio collage documenting a road trip along the northern coast of Crete. At its foundation is a battle between driver and passenger for control of the car radio. It also includes recordings of a Greek unemployment benefit office, a Greek Orthodox church service, a travelling potato salesman, numerous musical performances and recordings of daily Cretan life.

Steven George Jones is an avoidant artist working in sound, video, painting and performance. He is the founding member of BOSCH, an art collective formed in 2000. He lives and works in Newport, South Wales.

http://www.stevengeorgejones.com

‘The Midshipman’ is a short, narrated prose set to sound. It tells the story of two survivors of a shipwreck, stuck on a narrow lifeboat, adrift on the ocean. The language is unforgiving, harsh, malevolent. The soundscore, veering between overtly musical elements and impressionistic noise, tracks the psychological journey of the narrator. This work is intended for stage production in 2018, with this edit version existing specifically for the medium of radio.

Joe Harney is an Irish musician, composer and sound designer, based in Edinburgh; Nicholas Kavanagh, an Irish stage actor based in Waterford, Ireland. Kate A Wright, a Welsh writer based in London. Joe and Nicholas have collaborated many times on stage productions of new theatre works. They both loved the short story from Kate, and decided to attempt to bring its unsettling lyricism to life in sound.

We listen to a play and the audience watching it. As the show progresses, the reactions in the auditorium change; the public is annoyed. The stage and the show were built using a collage of sounds from the Freesound collaborative database.

Laura Solari is a sound and video artist living in south Switzerland.

http://zonoff.net

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 transformation 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

2a – Lidia Dorigo – Interview collected in Caprizzi (UD)
Halfway between history and legend the village Buarta in the XVIII° century is wiped out by a landslide and is subsequently rebuilt in a different valley by its only survivor.

Elaborated into 2b – È puis YOU by Eric la casa – (France)

I don’t normally work with material that has not been recorder by myself because to me the moment I record, the moment I open my ears to the world is of fundamental importance. Listening is already a musical act. The piece which was assigned to me was not particularly interesting except for the extrordinary prosody of a woman whose speach I did not understand (at times I had the illusion I could catch a word). In my approach to the task I had to chose between two options: either go to the place where the recording was made for a dynamic listening, then find a place particular to that person (the acoustic space is fundamental in my work); alternatively I could work towards trying and making the material my own. Afterall the rules imposed were sufficient enough to force me to do what I did not want to do, in fact it would have been impossible for me to go there on my own.
This is exactly what I needed, be adrift. Someone to push me so as to allow myself to be drifted away by the air and material. I began by studying what was in the voice, moving then to the sound of the breath then to the first syllabs an finally to the words. I organized the material into lists in order to be able to observe the matter I was dealing with, but mainly to have the possibility to re-map (re-assemble) a whole and to find new sound shapes. Every list originates to anumber of multiple vairations, though the list is but a support to the variation, a step in the process of de-materialization of this voice. In this area of improvisation (which is the core of the composition) I began to re-listen to the original material making it my own. The voice in its original space (A) is a sound while it becomes musical fragment in the organized space of the lists (B). The lists are then inserted into “digital” solutions more or less complex and generated from the same raw material.
The final purpose of all these operations is to “expand” the listening field. I therefore worked in the gap between A and B in order to create a new space where I could position myself together with the listener inwhich what could be understood/perceived of the original sound has been multiplied/expanded/ filtered from the material organized into lists.

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) The Doll – Triple G Version 4: Drinking Straw Flute
(2) The Ladywell Lout – Throbbing Drum Build Fade Noise at the Puggies
(3) Titus Twelve – Edge of Life
(4) David Harradine and Luke Pell – An Oak Tree

A collaborative sound/photo work by Luke Fowler and Richard McMaster. Starting at sunrise on Saturday 9th September 2017 Fowler and McMaster walked the length of one of Glasgow’s oldest and longest Roman roads; Great Western Road (GWR). Beginning at St. George’s X they made timed 1minute recordings, every 7 minutes, until they reached a point (near Old Kilpatrick) where it became too dangerous to continue on foot. Using identical location mixers and the same Mid-Side microphone configurations- McMaster walked and recorded on one side of the road whilst Fowler recorded on the other. They both recorded as prompted and by the agreed fixed structure- with no plan or anticipation of capturing any specific sound events besides the road itself. The two discreet, yet synchronised recordings are then brought together in the editing process and panned hard left and right to create a wide stereo image of the road’s soundscape on that day. The Great Western Road documents the city slowly awakening and traverses a cross-section of neighbourhoods and terrains from St. George’s X and Kelvinbridge to Anniesland and Duntocher. It crosses the River Kelvin and passes alongside Botanical Gardens and Gartnavel Hospital before reaching the A82 motorway. The Great Western Road is a major route for commercial traffic and also the means for the citiy’s’ inhabitants to escape on daytrips to Loch Lomond and beyond.

Richard McMaster is an artist/musician – he lives and works in Glasgow (UK).
Luke Fowler is a filmmaker/musician – he lives and works in Glasgow (UK).

Supported by Creative Scotland and Outset.

This work describes the seven days of the Catholic Genesis. The soundscape for
any day is presented in original sound but is presented in different ambience. I
have extracted twelve soundscapes and combined the soundscapes with
the twelve notes from the musical scale. In the final I have created the eighth day
that describe the today time with our soundscape.

http://www.morleoeditore.com

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

Karen Werner is a U.S. radio producer and sociologist. Her radio work has been commissioned by and broadcast on the Australian Broadcast Corporation shows Earshot, Radiotonic, and Soundproof. Karen’s audio work has also been played at Kinokophone’s sound cinema events at Lincoln Center in NYC and at the Deep Listening Festival in Troy, New York. From 2014-2016 she received a Hemera Fellowship for artists with a Buddhist practice. Karen’s 2016 radio documentary, “Laws of Lost and Found Objects” won the 2016 Grand Prix Marulic. In Fall 2016, she was artist-in-residence at studio das weisse haus in Vienna, Austria, producing a radio series called Strange Radio. Karen is on the faculty at Goddard College in Plainfield, Vermont.

Creations:
• Laws of Lost and Found Objects (2015)
• Strange Radio Episode 1: Jetzt Höre ich/ Now I Hear (2016)
• Strange Radio Episode 3: Postcards From The Second Basement
• (Excerpt) (2016)

http://karenwerner.net

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. Ben Glas – Music For An Empty Space
2. Jaxton Su – Reverse Time
3. J Diaz – Sic Pilot: Part II
4. Adam Pierce – The Jay
5. Bernardo Jimenez/TreesOnComa – The Day After
6. Hagai Izenberg – Chronicle 4
7. Chin Ting Chan – Stargaze

1. Ben Glas – Music For An Empty Space

“Music For An Empty Space” is the first track on the recently released album titled “Music For An Empty Space And Full Mind” by Ben Glas, via Portland, OR based record label Sounds Et Al. The piece is a spatial composition consisting of sinewaves and focuses on creating a space for perceptive interacting for the pleasure and consideration of each individual listener. This piece acts as a sonic installation, filling each space with new tonal possibilities for a unique listening experience.

Ben Glas is an interdisciplinary artist working from Portland, OR. With a keen focus on perceptual phenomena and vibration, his work engages notions of relativity, space and spatial modes of experiencing sound. Glas’ intent is to offer a time and space for individual listeners to become aware of their experience and existence in spacetime.

2. Jaxton Su – Dreamscape:Reverse Time

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

3. J Diaz – Sic Pilot: Part II

Sic Pilot: Part II is a work recently released on J Diaz’s debut album, Sic Pilot. The piece unravels deeply seeded racism in the American landscape and combines electronic sounds with spoken word elements–quoting the likes of Langston Hughes, Billie Holiday, Martin Luther King Jr, and Shakespeare. The work also includes police report quotes on recent shootings of American people of color. Sic Pilot: Part II is a plea for justice as much as a tribute to the lives that have been lost.

J Diaz is a Sound Artist moving to England in September of 2017. He designs sound for a variety of mediums—including theatre, dance, and the concert stage. J’s concert music has been performed by The City of Tomorrow, members of Roomful of Teeth, Grammy award winning bassist and Bang on a Can All Star Gregg August, violinists Jennifer Choi and Fung Chern Hwei, pianist Stephen Gosling, and cellist Yves Dharamraj. In May of 2017, J released his debut album of electronic sounds, Sic Pilot. The album explores the national ambiguity in J’s Mexican American identity.

http://www.diazsounds.com

4. Adam Pierce – The Jay

He once shot a bluejay through the eye, with a ray from the sun
Turned off he opened his head to the sky, and laughed at the god’s almanac

My how I remember that day, in the moon’s great equilibrium;
forests were at every door
and I’d walk out to the darkening ship.

Days tallied on, to the months and to the years
before long, he would bait the jay
and look to it’s eye
shifting in the lilting sun.

Moons would appear, dancing through the neptune blue fields
once again, praying for something more,
for the ire of the night sake was too black.

Found sound, not field recordings. An audio diary of the images, instruments, and nuances of daily life.

I have been active in the avant garde music community in Michigan, USA for over a decade, as a solo artist and a part of many collectives, releasing numerous recorded works through many different formats and performing on a regular basis across a diverse set of gallery spaces/venues. Over the past year I have been focusing solely on recording a work titled: ‘Music in the Moon Beam,’ which is an audio diary that began the winter of 2017 and will end the spring of 2018. The audio work will be accompanied by a dream diary compiled over the course of the same time.
What interests me is recorded music as sound work, to be absorbed across multiple formats and in diverse environments, not restricted to any contemporary preconceptions of audio consumption.

Works composed primarily with voice, guitar, modular synth, & tape

https://adampierce.bandcamp.com/
https://wohlfeilpierce.bandcamp.com/

5. Bernardo Jimenez/TressOnComa – The Day After

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. reesOnComa has also worked with theatre companies in the past.

https://soundcloud.com/treesoncoma

6. Hagai Izenberg – Chronicle 4

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/

7. Chin Ting Chan – Stargaze

Stargaze is realized using Cycling 74’s Max/MSP 5 program. The entire piece is generated with a sine wave running through various custom-made effect-processing modules; they include amplitude modulation, multi-tap/feedback delay, flanging, reverb, as well as pitch-shifting in the frequency domain using the Fast Fourier Transform procedure. The piece is roughly divided into two parts. The first part uses the same pitch materials from Katachi II for violin and live electronics (2011), where they are solely derived from an ancient game of Go dated from 1846 in Japan. The second part groups the pitches in small sets, sometimes randomizes them and combines them with a quasi-glissando effect.

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

The diagnostic and statistical manual of musical disorders is an expressionistic audio documentary that examines the intellectual and emotional trauma that accompanied the demise of modernism in classical music during the late 20th century. Composers and theorists whose professional rhetoric had elevated compositional technique to the status of triumphalist ideology eventually found themselves adrift in an environment that was indifferent to their mythology of progress, prompting some of them to resist and denounce the inversion of their social and artistic status from avant-garde to garde-en-arrière, and others to abandon the cult of doctrine and adapt to an evolving cultural landscape.

The compositions of David Jason Snow have been performed in concert by the Ensemble Intercontemporain, the New Juilliard Ensemble, the American Brass Quintet, the Harvard Wind Ensemble, the Eastman Percussion Ensemble, and other ensembles throughout the United States, Europe, Asia and Africa. Snow has been the recipient of awards from the National Endowment for the Arts, the Maryland State Arts Council, the ASCAP Foundation, BMI, Musician magazine and Keyboard magazine, and has been an artist resident at Yaddo and the Millay Colony for the Arts. He holds degrees in music composition from the Eastman School of Music and Yale University.

http://www.davidsnowmusic.org

Secret Fantasies is a collection of sound collages based on descriptions of childhood fantasies, remembered by people around the world. People of varying degrees of celebrity have been selected to vocalise the fantasies. These people have been selected according to two criteria: suitable vocabulary on record, and appeal of their voices. The fantasies was released on cassette in 2016 by Calling Cards, a publishing house based in London.

I have for the past year collected stories. I started collecting them to expand my work
beyond my own repository of memories and narratives. In the beginning I was asking
people I knew in conversation if they remembered fantasies they had has children, games they used to play, or memories that they might not have told anyone about. What can they tell about the society in which they come in to existence? Niels Bugge graduated with an MFA from CalArts in 2017, and with a BFA from Glasgow School of Art in 2013. He is currently living in Los Angeles.

http://callingcardspublishing.com/secret%20fantasies.html
https://amongtheseraphim.wordpress.com

Infectious Airwaves is a 60-minute program written and produced by Ernestus Jiminy Chald that simulates a weaponized radio broadcast capable of transmitting an auricular pathogen over the airwaves—a sonic contagion that infiltrates the listeners’ ears, leaving them afflicted with a terminal auditory infection.

Ernestus Jiminy Chald is an experimental radio artist, writer, composer, sound designer, and enigmatographer. His radio work has been broadcast on WPOX and featured at the National Audio Theatre Festivals. His literary work has been published by the Journal of Experimental Fiction and Oilcan Press among others. He lives in Chicago.

http://www.themindsear.com