A compilation of excerpts from the previous eleven hearspools.

This episode mashes up the soundtrack of Walerian Borowczyk’s 1975 film The Beast with Arte Radio productions about pregnancy and bathing in Japan, economics documentaries by JK Galbraith, and the Fluxus-style choral work of Tomomi Adachi, Paul Lansky, Dominique Petitgand and Nobukazu Takemura.

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)

A conversation about Opposition and the Church in the last days of the German
Democratic Republic. With Marianne Birthler and Rocco Pagel.

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 Chuse Fernandez and Miguel Deza of TEA FM in Zaragoza in Spain.

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/

We are interested in creating new electromagnetic infrastructures and proposing narratives or experiences that can be lived in these ephemeral sonic spaces. Our performances utilize an array of electronic and analog instruments, as well as devices designed and fabricated by hand.The tracks on this page were originally produced for our installation and live performance at the Museum of Contemporary Art Chicago in March 2016. Using variations in speed, long durations, patience, and repetition, we built up musical and auditory foundations through tracks and technologies, slowly filling the museum with various soundscapes. While broadcasting across analog radio signals (via Radius) and digital transmissions (via NUMBERS.FM), we physically moved through the museum after setting up two stages on two floors to perform from.

Press/Review: https://mcachicago.org/Stories/Blog/2017/06/03222016

Jeff Kolar (b. Chicago, US) is a independent sound artist, radio producer, and curator. He is the Founder and Artistic Director of Radius, an experimental radio broadcast platform established in 2010. His work, described as “speaker-shredding” (Half Letter Press), “wonderfully strange” (John Corbett), and “characteristically curious” (Marc Weidenbaum), activates sound in unconventional, temporary, and ephemeral ways using appropriation and remix as a critical practice. His solo and collaborative projects, installations, and public performances often investigate the mundane sonic nuances of everyday electronic devices. He has performed and exhibited widely across the United States, and at international venues and festivals such as the New Museum (New York, US), The Kitchen (New York, US), Moogfest (Durham, US), CTM Festival for Adventurous Music (Berlin, DE), Museum of Contemporary Art Chicago (Chicago, US), Kino Šiška (Ljubljana, SL), Le Cube Centre de création numérique (Paris, FR), ORF RadioKulturhaus (Vienna, AT), LAK Festival of Nordic Sound Art (København, Denmark), among others.

jonCates creates systems, is well known for creating the concept of Dirty New Media / d1Ɍ+y̶ ̶N̶3WWW_M3DI∆ / 新污媒體and developing glitch / Glitch Art / 當機藝術 projects, platforms and communities. jonCates curates and organizes exhibitions and events. jonCates contributes to the field of Media Art Histories with original research, publications, preservation projects and open archives. jonCates teaches and mentors generations of artists and scholars, innovating original and influential curriculum. jonCates is currently Chair of The Faculty Senate at the School of the Art Institute of Chicago (SAIC) (2016 – 2017); previously Chair of The Film, Video, New Media, and Animation department (FVNMA) at the School of the Art Institute of Chicago (SAIC) (2012 – 2016) and currently Undergraduate Coordinator of The Film, Video, New Media, and Animation department (FVNMA) at the School of the Art Institute of Chicago (SAIC) (2016 – 2017).

http://jeffkolar.us
http://systemsapproach.net/

A 30-minute soundscape, The Chorus is a reconstruction of a dawn chorus – in which
each of the birds’ warbles, squawks and whistles has been replaced with a human’s
poor mimicry. Following the precise timings of the original field recording, The
Chorus critiques our understanding of the ‘natural’ world: some sounds recognizably
belong to a clichéd image of authentic rural life; others emerge as perplexing gurgles
and hums. The apparent simplicity of the proposition reveals surprising complexity;
the radio becomes a platform to expose the limits of the voice, mouth and throat as
they contort to achieve increasingly ambitious substitutions.

Timber & Battery’s playful work considers meaning and meaninglessness through
oblique gestures. The collaborative practice of Rohanne Udall (b. 1990) and Paul
Hughes (b. 1991), it takes place across choreographic, performance and visual arts
contexts. Trained in fine art and philosophy, our practice is a meeting point between
disciplines; a persistent and fidgeting enquiry that continually questions itself and the
contexts it finds itself within.
Our work has recently been included at DISKURS festival in (Giessen, Germany,
October 2017), SET.mefree international film selection (Venice and London,
September 2017), and residencies at Hospitalfield Arts Arbroath and Nottingham
Trent University’s Summer Lodge.

http://www.timberandbattery.com

1. Adam Paroussos – Sleeping Pils (BM remix)
2. Alan Currall – Dead Air
3. Jez Riley French – icelandic mineral reaction
4. J Diaz – A Mexican in a rice hat
5. Craig Gallacher – Somewhere in The Darkness was a Fine Tenor

1. Adam Paroussos – Sleeping Pils (BM remix)

A reimagining of the original piece by Kia. This piece explores the distortion of perceived reality and the murky space between sleep and consciousness.

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

soundcloud.com/bamboo-mustard

2. Alan Currall – Dead Air

Two minutes of silence.

http://www.alancurrall.com

3. Jez riley French – icelandic mineral reaction

recordings from south Iceland: . glacier releasing 10,000 year old air . seltanger rock pool, limpets grazing . the lava rock dissolving in a solution representing the current effect of pollution approaching Iceland

Using intuitive composition, field recording, improvisation and photography, Jez has been exploring his enjoyment of and interest in detail, simplicity and his emotive response to places and situations for over 3 decades.

Alongside performances, exhibitions, installations, JrF lectures and runs workshops around the world and his range of specialist microphones are widely used by recordists, sound artists, musicians, sound designers and cultural organisations. He also works as a curator of live events, a record label, of sound installations and an arts zine ‘verdure engraved’.

In recent years he has been working extensively on recordings of surfaces, spaces and situations and developing the concept of photographic scores and ‘scores for listening’, which have featured widely in publications and exhibitions.
His work has been exhibited in shows and installations alongside that of Yoko Ono, David Bowie, Pauline Oliveros, Chris Watson, Alvin Lucier, Annea Lockwood, Ryuchi Sakamoto, Stars of the Lid, Jeremy Deller, Sarah Lucas, Brian Eno, Signe Liden, Sally Ann McIntyre etc, at galleries including The Whitworth Gallery (Manchester), Tate Modern and Tate Britain, MOT – Museum of Contemporary Art, Tokyo (Japan), Artisphere (USA) ….

jezrileyfrench.co.uk

4. J Diaz – A Mexican in a rice hat

A Mexican in a Rice Hat is a new work recently released on J Diaz’s debut album, Sic Pilot. The piece combines sounds of his Mexican heritage with the sounds and energy of a pinball machine. It’s an expression that explores the ambiguity between J’s Mexican American national identities.

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

5. Craig Gallacher – Somewhere in The Darkness was a Fine Tenor

“The rock walls curved, smoke-blackened, to a ceiling out of sight in the darkness overhead. The only light came from the fire, and two candles capping a boulder on the floor.”

Lovingly discovered fragments of Scottish mountaineering tales and lore, woven together through violin and voice. Script courtesy of Alastair Borthwick, Gwen Moffat, Tom Patey, Robin Smith, William Murray, Nan Shepherd.

Craig Gallacher is a multidisciplinary designer living in Glasgow, co-producer of Resono and founder member of Esk.

John Smith is a guide and designer living on the Isle of Skye as a director of island-based outdoor activity provider Skye Adventure.

George Smith is a violinist living in Glasgow. He is a founder member and one half of Scottish chamber ensemble the Maxwell String Quartet.

Together, alongside musicians Duncan Strachan and Sam Annand, they co-produced A Concert in a Coire; strings and sound design composed live for an amphitheatre of sweeping rock and vertical precipices in Coire Lagan, Skye.

resono.co.uk
vimeo.com/219858239
maxwellstringquartet.com

1. Jacob Dwyer – Keiths Arcadia by Jacob Dwyer
2. Galo Duran – The sounds of Marrakech
3. Amanda Brannin – do I need to repeat myself
4. Katie Revell – Union Square April 16th 2016
5. Alexander Martinz – certain events in my parents garden around 02:00 am
6. Giorgio Dursi – Attempt at generating a Universe as an Egg

1. Jacob Dwyer – Keiths Arcadia

Amidst the London riots of 2011 a man stands inside Arcadia shopping centre. In the outside a brick hits The Body Shop and a guy walks past rolling a burning bin. Using the reflection of the glass doors the man looks back at TK Maxx and an assortment of trainer shops and reimagines the shopping centre as a real arcadian landscape. Sound design by Jacob Oostra.

Jacob Dwyer (b.1988 London) studied Fine Art at Newcastle University before completing a Masters in Experimental Film at Kingston University. Following this he moved to Amsterdam as a participant of De Ateliers. Since completing this residency in 2014 he’s continued his practice in Amsterdam where he also contributes as a writer for Metropolis M. His work has been shown in art spaces and film festivals including, IFFR (Rotterdam), IDFA (Amsterdam), BFI (London), Good Children (New Orleans), BALTIC 39 (Newcastle), Galerie Juliette Jongma (Amsterdam) and Herrmann Germann Contemporary (Zurich).

2. Galo Duran – The sounds of Marrakech
This soundscape was created in djamaa El Fna, Marrakech , Moroco , in 2011 , all the sounds records by Galo Durán.

Bio:
Since 2002 makes music for independent film projects:
2008 and 2009 -scholarship for young composers: by the Mexican Center for Music and Sonic Arts.
Scholarship of Sound Visions International Festival 2008.
Artistic residence in 2010 Buenos Aires, Argentina (FONCA)
2011- Soundscape of Jamma el Fna, Marrakech, Moroco.
He has also participated in the International Film Festival in buenos aires Argentina BAFICI 2010 and in the international film festival Rotterdam IFFR 2012 Netherlands.
2013 Nomination to an Ariel prize – original music
2015 performances in Tokyo, Kioto and Wakayama Japan

https://soundcloud.com/galo_duran

3. Amanda Brannin – do I need to repeat myself

-looping lo-fo audio collage

I’m a young Texan currently held between mountains in East Iceland making whatever calls to me, often using my actions and voice.

https://soundcloud.com/amandabrannin

4. Katie Revell – Union Square April 16th 2016

A meander into, around, and out of, a Bernie Sanders rally at Union Square in Manhattan. The traffic is choked, the crowd is vocal, the shoppers are bemused, and the Hare Krishnas are carrying on regardless in their usual spot by the subway exit. Scraps of conversation (mundane and historic) rise from the swell of the rally as life continues around it.

Katie Revell is a filmmaker with a growing interest in audio. She believes strongly in the potential of documentary (in the broadest sense) to encourage empathy (also in the broadest sense). She co-produces Farmerama, an award-winning podcast connecting small-scale farmers in the UK and beyond. Currently based in Glasgow, Katie grew up on the east coast of Scotland and has also lived in Germany, India and the USA.

Soundcloud: https://soundcloud.com/noflyposting
Vimeo: https://vimeo.com/katierevell/videos

5. Alexander Martinz – certain events in my parents garden around 02:00 am

Field recording piece utilizing sounds of my parents garden and its sourroundings in 9020 Klagenfurt, Welzenegg. Basically an everyday suburban “almost nothing”.

Alexander Martinz, born 1979 in Klagenfurt, studied Electroacoustic Composition and Transmedia Art. He teaches at the University of Applied Arts, lives and works as a composer and media artist in Vienna, is the voice of Captain Knife and the bassist of Running Fetus. He is interested in the different logics and traditions of audiovisual media as well as in their correlations. Complex transformations of popcultural material can be considered a foundation of his work.

admartinz.tumblr.com

6. Giorgio Dursi – Attempt at generating a Universe as an Egg

The piece is based on an improvisation with my voice in which I pretend to be a hen generating a Universe as an egg. The gesture evolves into a sci-fi-like ending. Genre: Sound Poetry, Science.meets.Dadaism.

I’m Giorgio Dursi an Italian artist and musician currently based in Berlin.

http://www.giorgiodursi.it

How the Soviet Union spent more money on blocking radio stations from the West
than on radio broadcasting itself and the creative methods they used to make
unbearable noise. With Rimantas Pleikys.

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 23 minutes I am soundtracked by a loop of guitar feedback, my car engine, and my satnav as I talk about the music I loved in the 90s.

Multi-media artist, author, critic, musician, and semi-pro ‘annoyer’. From Glasgow, now living near Birmingham.

http://learnallyouneedtoknowabouttheealexatthishandyurl.co.uk

The Funnel is inspired by a visit to the Port Talbot steel works in Wales, various occult writings, the art of alchemy, European medieval and early renaissance music.
Additional vocals by Milo Brennan.

Wojciech Rusin composes music for theatre and film. He wrote music for the award winning show ‘No Guts No Heart No Glory’, which was filmed by the BBC and broadcast on BBC4 in November 2015He works with digital and analogue technologies, sensors, solenoids (electromagnetic hammers), synthesisers and anything that can be used as an unique sound source. As Katapulto he released the LP ‘Powerflex’ on New York label Olde English Spelling Bee.

http://www.katapulto.com

Supported by Creative Scotland and Outset.

This is the first installment of an ongoing process to create a sound piece for those who are only half listening, born from the phenomenon of utilizing the radio as a ‘background’ content, perhaps the nature of the medium allows an audience to be at once present and absent, engaging then disengaged, an idle bystander.

I do not wish to imply criticism more use the concept of half listening as a starting point as to how we might imagine and approach the half heard and also engage with and explore in a broader way concepts of the missing and not present.

My name is Matt Harding, I am a composer and artist and have recently completed a sound art MA obtaining a distinction. Most recently I exhibited in Gavin Turk’s ‘Inside Out’ show in the summer 2017. I regularly perform my own score to the silent film ‘The Cabinet Of Dr Caligari’ at various venues across the UK and London, I performed a re imagined shorter version with live foley at the ‘Klingt Gut ‘ festival in Hamburg this year. I also wrote the Soundtrack to British movie ‘High Tide’ in 2015 and have released 5 albums on Moshi Moshi and Heavenly Records

Electroacoustic work, 2 stereo channels. Texts : collage from “L’Amour Fou” by André Breton, and from “Bien que mon amour soit fou” by Benoît Dalle, Yves Edel and Angel Fernandez.
Voice : Maïté Pouleur
Mastering : BB³
From a poetic quote by an erotomaniac mental health patient in 1936 (from the eponymous book), « Bien que mon amour soit fou… » explores this kind of condition towards which love can lead. The composition interrogates the relation between the patient and her illness, through collages symbolizing an exploration of the unconscious that may lead to healing.

Nod Akami is a French composer of electronic and electroacoustic music born in 1979, now living in Lille (Fr). Some pieces by Nod Akami were presented for the first time in 2017 at the Italian festival En Chair et en Son, and on the various artists compilation New Frontiers of Electronic Music on the Unexplained Sounds Group label. Bien que mon amour soit fou… was first presented on 19th august 2017 in Korea at the Yongin Poeun Art Gallery during New Music Day @Sonicscape.

Using Joan La Barbra’s Singing Alphabet from Sesame Street (c 1977) as inspiration I asked 10 vocal artists to contribute a reading or improvised vocal performance based on the letters A,E, I, O, U.

I combined the readings/performances forming a continuous piece. Mixing was done in a single take, keeping the spirit of the reading/performance alive within the boundaries of any extra sound manipulation I added.

Associates: Duncan Harrison, Mu Extraordinaire , Stuart Arnot, Sue FitzGerald, Ben Knight, Hannah Ellul, Andy Wild, Rachel Green, Joe Posset, Malory Maki

Idea, writing & sound mixing: Joe Posset

I’ve been working with Dictaphones and old tape recorders making slurred sounds for the last 10 years. Using a mixture of careful composition and reckless improvisation I’ve managed to put out over 30 tapes and CDrs and play solo and in wonderful collaborations up and down the UK. I’m a lucky man. More recently I’ve started using abstract vocal sounds and words to create Dada-esque poems.

https://soundcloud.com/posser-1

Stoneypath is a sonic exploration of the day-to-day work of the gardeners at ‘Little Sparta’, who tend/sustain the garden against the incessant encroachment of the moorland. Their fight against nature enacts the definitively human task of tending the ‘yin-and-yang’ of order-and-chaos, domesticity-and-wildness, apollo-and-dionysus, reason-and-madness. This sonic poem represents their struggle by generating a sound world which is forever changing, never comfortably settling into a single version of itself. Despite our best efforts
time is still
ultimately
victorious

‘Stoneypath’ is a father-and-son collaboration between the widely published poet, Andrew McCallum. and the sonic artist Adam McCallum, who is currently studying for a Masters degree in Sound Design at Edinburgh University. Both hail from Biggar, in southern Scotland; a stone’s throw from Ian Hamilton Finlay’s garden, ‘Little Sparta’, to which their collaboration is a response.

https://soundcloud.com/adammccallum

Here we speak to Diana McCarty, Pit Schultz and Karl-Heinz Jeron of Reboot.fm in Berlin in Germany.

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/

A work based on the interwoven memory of childhood insomnia and the radio. I wouldn’t be able to sleep and would tune into long wave radio stations, which would phase in and out of reception, swelling up and fading away in slow pulses of static. This is an attempt to recreate that sensation but in a heightened and more tensile and aggressive manner using repeated and manipulated wave samples. This is the first part of a hopefully wider work using the therapeutic deployment of drone and noise in order to explore a possible future system of audio –sensory inoculation against trauma.

My name is Grant Campbell. I am a musician and sound artist from Edinburgh. I’m also involved in the group Optic Nerve.

https://soundcloud.com/user-148632766

A radio-play/sound collage about memories, its carriers, changes, imperfections and also about relationship between sound and image.

“Kino Pamięci” is a 3-channel sound collage merging voices, field recordings, electronic and acoustic sounds. Something between a diary, a chronicle of personal stories more important than official history and a soundscape portrait of Sokołowsko. It’ll also touch upon a subject of the significance of sound in film through use of various audio excerpts from movies as a commentary or counterpoint.

https://itradioeditradioed.bandcamp.com/album/kino-pami-ci

Overall, it’s drawing on the aesthetics of the earliest field recordings of birds – koch’s wax cylinder, arthur allen’s ivory billed woodpecker recordings, etc. but it’s based on a NZ bird which is “lost” in the present time – which is perhaps extinct.

The sound library of a citizen scientist who’s spent a lot of time looking for it (and collected a total of 1:26 of audio over 40 years of searching!) is interspersed with recordings of musical interpretations of historic / archival notations used as scores – some from private letters, some published in ornithology journals – played on violin, piano, harpsichord and clavichord.

Included are other birds dead or alive which would have been / are in its environment – the huia (exitinct, here on paper music box) and the NZ rock wren – endangered (whose call is so high pitched it’s almost outside the range of human hearing – here the audible part itself sounds like radio static or electronic noise).

Also some vlf recorded in the mountains, all played back through very unstable microcast transmitters and “flocks” of radios.

Sally Ann McIntyre was born in Hobart, and currently resides in Dunedin. Her creative practice is highly responsive to place, and includes sound art, the creative use of radio, and the the use of field recordings, as well as a concurrent practice in poetry and associated forms of writing.

A major platform for her artistic output since 2006 has been a hand-made narrowcast radio station named radio cegeste, a nomadic performance and recording project which broadcasts within a small radius to any locality on the frequency 104.5FM. Lo-fi, site-specific technological interventions into the soundscapes of various places and ecologies are often conceived as exploratory inter-species collaborations, for which she acts as curator and operator, destabilising the notion of one-to-many broadcast, and associated forms of control and authorship within the medium. Soundscapes recorded on site are layered back into the environment with historic field recordings on 78rpm and other media, problematising the immediacy of listening, and asking questions about its historicisation.

radio cegeste has released material on the labels winds measure, Consumer Waste, and/Oar, Idealstate, Flaming Pines, and Gruenrekorder. Sally’s sound work also includes ongoing research into the materiality of recorded silence, the history of birdsong transcription, and the hauntology of extinction as a trace within sound archives, including the use of pre-electrical sonic inscription and playback mechanisms, such as gramophones, phonographic wax cylinders and music boxes, to bring extinct birdsong back to audibility. Projects have been exhibited in galleries and project spaces in Australia, New Zealand, the UK and the U.S.

Her critical practice spans radio documentary, critical writing, and curatorial and organisational work. She has written for Flash Art International, Art Asia Pacific, and other print media, and since 2009 has been involved as an Australasian curator for the international Radia network, which is a curatorial platform for peer-to-peer experimental radio art, commissioning many new works from sound and radio artists in the region. Her interests include environmental history, post-humanism, the history of museums, ethno-ornithology, island ecologies, avian electomagnetic navigation, obsolete technologies, the poetics of erasure and the trace, the possiblity of locality within the globalised, and the cultural and historical situatedness of listening.

http://radiocegeste.blogspot.co.uk/2017/11/study-for-data-deficient-species-grey.html

Frail Potentialities is a ‘hypertext monologue’ for radio. The work explores an unlikely and anachronistic relationship between the ideas of Simone Weil – activist, mystic and author living in the early 20th century, and the post-digital distribution of the contemporary subject.
Weil was obsessed with breaking down her own subjectivity. As Chris Kraus puts it Weil was ‘arguing for an alien state, using subjectivity as a means to break out of time and space…’ The post-digital order breaks out of both chronological time and physical space but lays claim to a fragmented, impersonal commons of subjectivity. Through the figure of Weil this work explores the mystical, or sci-fi aspects of our contemporary selves.

Kari Robertson (b. Edinburgh 1988) is a visual artist based in Rotterdam, The Netherlands. She previously studied at GSA before serving for two years on the committee of Transmission Gallery. Kari works primarily in time-based media including sound, analogue film and digital video and animation. Through narrative and storytelling her works often explore sci-fi approaches to subjectivity. Characters act as means to un-think the sovereignty of our bodies, identities, or minds or as a way to access forms of radical empathy – what it might be to empathise beyond identity, similarity or equivalence.

http://karilericherobertson.com/

(1) The Modern Institute – Shiver and Quiver
(2) Alan Courtis and Cyrus Pireh – Coils on Malbec

The Funnel is inspired by a visit to the Port Talbot steel works in Wales, various occult writings, the art of alchemy, European medieval and early renaissance music. Additional vocals by Milo Brennan.

Wojciech Rusin composes music for theatre and film. He wrote music for the award winning show ‘No Guts No Heart No Glory’, which was filmed by the BBC and broadcast on BBC4 in November 2015, He works with digital and analogue technologies, sensors, solenoids (electromagnetic hammers), synthesisers and anything that can be used as an unique sound source. As Katapulto he released the LP ‘Powerflex’ on New York label Olde English Spelling Bee.

http://www.katapulto.com

Supported by Creative Scotland and Outset.

Come to it as someone else” is a soundscape formed from free improvisations and processed field recordings. The piece has a number of relational aspects, with the artists working with raw materials provided by the other. It engages with memory and response, with dialogue and reinterpretation being central to both improvisation and processing of found sound. The work builds on the inherent qualities of acoustic instrumentation and organic sound. This is augmented by processed copies, layering and electronics.

Stephan Barrett and Adam Kinsey’s work is primarily built around free improvisation. They are developing a practice which combines acoustic instrumentation, field recordings and modular synthesis. They share an interest in developing soundscapes through a variety of collaborative processes which respond to and reinterpret raw material. Their work together attempts to utilise the sonic qualities of texture and space. The artists met recently through Mopomoso Workshop Group and Skronk which offer an open platform for free improvisation in London.

This piece is part of a radio series where we invite an individual to take us to a place that holds significance to them. We then explore the location together, through desultory conversation, field recording and found sound. In the studio we wove together the recordings along with layers of live improvisation, sound effects and musics in keeping with the atmosphere evoked by original walk and the conversation had.

For this particular show we met Iris Garrelfs, Sound Artist, Improviser and Composer, who took us on a walk around a hidden forest by the banks of the Thames.

Born in 2015 out of a love for the outdoors, Postcards from the Volcano is a series of sporadic live radio shows focusing on the poetics of landscape, nature and space in relation to the human, interweaving conversation and on location pre-recordings with spoken word pieces, sound art, sonic experiments, sound collage, classical, contemporary, folk and many other forms of music.

Postcards from the Volcano also perform live utilising text and alternative scores, featuring spoken, taped and manipulated voice, found objects, object resonance and other sonic eccentricities.

– https://www.facebook.com/postcardsfromthevolcano/
– http://postcardsfromthevolcano.webs.com/
– https://soundcloud.com/postcardsfromthevolcano

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

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. dj morgiana – INTERFERENCJE #18 “WE ARE THE ENERGY” MANIFESTO
(part 1) – 2017
2. Dganit Elyakim – Old Skool (from Failing Better) 2016
3. dj morgiana – INTERFERENCJE #18 “WE ARE THE ENERGY” MANIFESTO
(part 2) – 2017
4. Dganit Elyakim – Lewdness (from Failing Better) 2016
5. dj morgiana – INTERFERENCJE #18 “WE ARE THE ENERGY” MANIFESTO
(part 3) – 2017
6. Xyramat – Slow Noise
7. La Cosa Preziosa – D.E.A.D. _ D.E.B.T
8. Christine Schörkhuber – Kazova Factory – 2013

‘Selected Radio Works’ compiles three recordings that engage with different notions of radio. ‘Mute Frequencies’ and ’60Hz Studio Ambience’ combine to explore the characteristics of radio as an electromagnetic phenomenon, whilst ‘Souvenir’ is a composition about memory, texture and documentation. Constructed from sampled charity shop LPs, VLF recordings and AM radio sweeps, the work explores parallel notions of one’s creative practice and the necessity to document the results of that practice. The tracks are sequenced in a linear fashion so as to suggest movement from the corporeal world of voice and texture (engineered radio) into the liminal spaces of electromagnetic waves, whistlers and sferics (natural radio).

Ilia Rogatchevski is a Russia-born multimedia artist, journalist and broadcaster living and working in London. Taking cues from insurrectionist modernist movements like Fluxus, Dada and the Situationist International his prolific output varies from painting and collage to installation and radio work. Appropriation and subversion play key roles in his practice, where phrases, sounds or images are culled from popular sources, détourned and then disseminated back into the public sphere. The refracted transformation of the original message encourages the audience to construct new meanings from these uncanny narratives.

Website – http://www.ilia.rogatchevski.com
Twitter/Instagram – @rogatchevski
Bandcamp – hyperstasis.bandcamp.com

This 90-minute piece is the sonic element of a larger body of work containing abstract film and painted acrylic pieces. The real-world sounds within the work, were captured over a period of months around Scotland.

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

This composition was produced in Radio Picnic residency between 20-25 january 2016 in Bruxelles. The purpose of the composition is to create from voice without sound effects several tracks which are presented in a radio show from a fictional country or another dimension. The voice of the speaker introduce all the song using Grammelot language, the choice of Black Lodge is a reference to David Lynch’s Twin Peaks and I wish to present the soundtrack as coming from unconscious dimension, like a dreamlike voice.

My approach of arts follows an anthropological point of view on human activities. I like to consider art as phenomena of expression which most of the time deal between environnement, social rules and individual desire. My work could be resume with the following statement: My favorite definition of art is from Marshall Macluhan: the criminal, like the artist is a social explorer.