Sun 20

A possibly racially motivated incident told using a research protocol for stimulating déjà vu. Told using the speech melodies of a woman I will never forget, it’s based on a drive through Gary, Indiana I’ve never been able to forget. Like I’d already seen it or something.

Flying city: take off, flight and landing. Flight with poetry with soundart with vinyl disc with cassette con software. Codes Flocking with mix of files of noisy actions by osvaldo cibils. 2021

osvaldo cibils sexagenarian artist in the art of contours in the art of knobs and in the art of clicks. Uruguay/Italy he lives in Barcelona, Spain.


https://linktr.ee/osvaldocibils

A word composition consisting of manually selected found text fragments of news headlines, vocalized by a synthetic voice and arranged in gradually shifting repetitions. Interleaving and stacking are the main compositional principles – the lingual sound material is constantly cut up and thus generating a strict and simple pattern. An algorithm developed for this purpose formalizes the moment of transition, creating an interlocking structure of short, constantly changing units of sound and sense. Could Change challenges the imaginary capacities of human language and psychoacoustic patters as it stimulates the ability to create individual phantom words in one's own perception. Marc Matter (*1974 in Basel) researches the musicality of speech and the field between sound and text. Founding member of Institut für Feinmotorik, The Durian Brothers and the label diskant; resident DJ and co-curator at Salon des Amateurs (Düsseldorf), commissioned compositions for radio broadcasts (WDR, SWR, Deutschlandradio Kultur), some in collaboration with Dagmara Kraus, Andreas Bülhoff or Ulrike Janssen; further collaborations with Niobe, Stefan Römer, Vonna- Michell, Tom White, Duncan Harrison; releases on Mount Analogue, Slimvolume, Chocolate Monk, Tanuki, Research and Waves.

What a relief to arrive at last in this new city. Your feet are restless, they take you across bridges and underneath construction sites, under the river even, where you embrace views that make you feel like you have ears all over your new body. This hour-long travelogue grazes across sonic neighborhoods that might resemble Tbilisi, Batumi, Toronto, Havana, St. Petersburg, Ulyanovsk, Strasbourg, Marseille, Naples, Reggio Calabria, Lisbon and Barcelona. Or at least, the sound sources, the original copies, were first heard there. recordings, mix and photo by Alëna Korolëva https://alenakoroleva.bandcamp.com text, voice and additional recordings by Mike Hoolboom https://mikehoolboom.com Alëna Korolëva is a multidisciplinary Russian-Canadian artist who makes sound collages with field recordings. She also works in photo and video art and curates programs for film festivals. She has a degree in documentary filmmaking and has made a few short films, but since 2018 she's reinvented her practice with sound art. I'm fascinated by the potential of accidental or routine sounds made by people, machines and animals to create music, by the ability of sound to change its power and meaning when put in concert with others. I find inspiration in exploring the soundscapes of big cities, finding rhythms in chance encounters, using incompatible fragments to create a tune.

This work was composed as my contribution to a collaborative group walking project (described in full at https://martinpeccles.com/other-sound-works/landlinks/) prompting encounters with our environments. To avoid ‘attachment’ to subjects by searching out those that are ‘interesting’ and to let go of the desire to find the definitive subject and to leave that choice to chance, the walk was governed by a ‘time/distance script’ to choreograph activity. Over 20 international artists responded to a series of chosen stopping points and at each were asked to moderate their gaze and choice of subject by adhering to various ‘prompt’ words.
brief biography

My practice reflects my experience of being in and walking through natural environments. I use sound recording and text to present time, distance, place and space of the landscape and to provide an opportunity for a listener to consider what it means to move through the landscape at a human pace and scale. Written or spoken and transcribed notes made whilst walking provide the material for poems, often in the form of haiku, and other text works. I have exhibited nationally and internationally and have created radio works for Framework Radio, Resonance EXTRA and Radiophrenia.

https://martinpeccles.com

1. Anne Lepère - Alveolus (5:18)
2. Trihn Lo - “la mort respire …” (8:20)
3. Cinzia Nistico - One Dimension and a Half Episode 13 (6:02)
4. Marcus Webb - Death Of A City (14:41)
5. Cameron Naylor & Rhiannon-Skye Boden - Edinburgh to Leeds (5:00)
6. Peter Basma Lord - Looking Over - Looking Out (5:01)
7. Elina Bry - femme fenêtre (14:09)

1. Anne Lepère - Alveolus

Journey and foray into erosion time. What are telling the stones hiding in the deep forest?
What are the memories sedimented in the mineral, protected by the moss with its shimmering greens? With each breath we feel a little more the fresh air of the mist among the trees caress our lungs… what will be the exchange?  What can we offer that is not destruction?
 
Created by Anne Lepère / Produced for the BlauesRauschen festival in 2021

2. Trihn Lo - “la mort respire …”

&Σειρήνες : Three Miniatures
(excerpts - 2020)

Cello: Brigitte Patricia Mirailles
Violin: Trihn Lo
©Trihn Lo 2020

Pieces for violin, cello, voice & electronics, both of which play on the effect of sideration already implicit in the delocalised presence of the other or on his absence. If "la mort respire..." is inspired by some verses of OndineValmore(«...la mort respire et n'estque le silence»); the Three Miniatures work on the imaginary of listening, because listening - or even being listening - is here like a siren song, astonishing, untranslatable, perhaps incomprehensible, a kind of break-in necessary for the coming of the other or of any other, an unapproachable otherness.
Poet, composer, free improviserand independent researcher, Trihn Lo is currently working on interdisciplinary projects between Italy and France.

3. Cinzia Nistico  - One Dimension and a Half Episode 13
 
CinziaNistico: voice/music/script/field recording        Igor Iofe: trumpet

In this podcast I merge both the principle of storytelling and songs, marking a counterpoint between sounds/music and the narration, a sort of unsung songs. A journalist’s semi-dada journal about an expedition aimed at reaching Earth’s fluid strata. The story alludes to the Nordic myth of Jörmungandr the World Serpent which marks Ragnarök, a serie of natural disasters leading to the submersion of the Earth in water. The first season focuses on events preceding the expedition, the second focuses on the mission itself.

Cinzia Nistico is a composer and multimedia artist. She’s interested in the psychological impact of sound and the emotional load it carries. In her projects she explores themes of identity and reality and the disruption and distortion of both. In her music she creates structures that are static and evolving at the same time. In her electronic/electroacoustic music she uses instruments or/and voice as a source. She graduated in composition in London (Trinity College of Music) and Milan (Conservatorio di Musica).
Her music is performed in Europe and worldwide. Visit cinzia-nistico for a full resume.

4. Marcus Webb - Death Of A City 

The 14 min work is inspired by life during the Covid -19 pandemic and the loss of the
composer's mother in 2020. In the work, Webb is using a Moog Mother -32 modular analog
synthesizer and field recordings done in Jersey City, NJ. 

You can find more of Marcus Webb's here https://marcuswebb.bandcamp.com/

5. Cameron Naylor & Rhiannon-Skye Boden - Edinburgh to Leeds

How do you engage with the culture of the streets around you? Edinburgh to Leeds explores what it means to relate to our environmentsthrough the sights and sounds of the history of the Leeds Music scene.

From the rainy days to the hidden corners of the punk movement, sit back and listen as you are taken from club to coffee shop as the music of the city is laid bare for all to hear.
Edinburgh to Leeds is a collaboration between Rhiannon-Skye Boden, an award-winning Leeds based poet, and Lovegrove, composer and sound artist. Through spoken word, sound design, and scores, this short form radio piece is the first in a series of pieces exploring how poets approach the notion of home.

Written and performed by Rhiannon-Skye (https://goodnighttheskye.com/), composition and sound design by Lovegrove(https://camlovegrove.music.blog/), produced by Rhiannon-Skye and Lovegrove.

6. Peter Basma Lord Looking Over - Looking Out

A companion piece to https://newart.city/show/lookingout-lookingover

Pulled between places and pulled between people. A document of my mum's formative years living between Sierra Leone, Lebanon, and England.

Of loss.Of longing.Of belonging.

My knowledge and understanding of these places I've never visited are informed by the personal words and histories of my mum and the detached observations of Google maps and image searches.

Working across a variety of mediums including video, audio, electronic interactive works, and found objects, Peter Basma-Lord creates immersive installations both physical and virtual. Their work examines the relationship between the self and the mass, the real and the fake, loss and longing. Having spent several years co-running the Hill52 radio station and putting on nights in Glasgow they now live in Berlin where they continue to put on nights though much more URL than IRL these days!

7. Elina Bry - femme fenêtre

The dog pushed a women out of the window : A 3 perspective story. The Older Brother, the Middle Sister and the Baby Sister. An incident happened, two witness and one listener. How do we cover up a trauma in a family. The baby sister is too young to understand, the older brother keeps the secret and the middle sister is forgotten. Her dog pushed her from the window, the baby sister says. Uncovering an event that happened when the middle child, AKA the artist, was young. How does the memory of a traumatic event changes through time, how does parents try to change the story to avoid any post traumatic stress. ( This will be a piece where I have recorded my brother and sister talking about an event that happened in my childhood, a suicide that happened in front of my brother and sister. They don’t remember the event the same way and since I wasn’t there I never got the whole story.)

https://www.elinabry.com/

‘ The bottom of the mind is paved with crossroads’. To reach these crossroads, radiomaker Gregory Whitehead developed a technique called: walking to circle. To walk a circle for 8 hours straight would give you access to the deeper parts of the mind. When walking this circle, the circle will start to transform. It becomes a line. A line of which the trick is to fall off, to make the jump. This jump is what I’m broadcasting. A moment in between the control of the takeoff and the pain of the landing. A moment in which the agency shifts from your mind to the laws of physics and back again. Stan Litjens is a musician from Amsterdam. He has a background in cultural studies and philosophy and works mostly on interdisciplinary sound related projects. His focus is mainly on the relation between sound environments and modes of listening in a musical context and in an experimental context. He works with field recording, modular synthesis and text.

Archival audio and synth/chiptune music combined, building a fun but atmospheric soundtrack to elements and episodes of the Space Race often overlooked, forgotten, or taken for granted. Stories alluded to include the first woman in space, animal sacrifices, the Cold War, and the competing feelings of optimism, paranoia, excitement, and ruthlessness of the period. Intended to be enjoyed as a single piece, played from start to finish. All music was composed on hardware and vintage synths, GameBoys, cassette players, tape loops, and handbuilt noise instruments. Name: Posthumous Cosmonaut. Real Name: Alasdair Watson. After a lifetime of tinkering and strumming, but never actually finishing or recording any music, the Pandemic and Lockdown gave me an opportunity to devote time to music that I knew I’d never get again. Chiptune music suits my tiny attention span, and the limitations of primitive hardware frees me to concentrate on creating, without the distraction of endless virtual instruments or music theory. I spend as much time soldering as I do composing, and the sound suits my proclivity towards science fiction and science fact. In real life I am a photographer, from Glasgow. https://soundcloud.com/posthumous-cosmonaut

Phaune Radio - SONIFERE  (25’56)

“The seed holds the time. We don’t know to what extent, neither does it. It waits for the right moment to come. It keeps and it erases time. Between its birth from the fruit, and the moment of its growth, nothing happens. Nothing for weeks, for months, for years. Sometimes for centuries. This ‘nothing’ erases time, but it contains life (…). And yet, small is the seed.”
― Gilles Clément

What you are about to hear now is a kind of radiophonic essay. A strange sonic short form that takes root in a rather fertile vegetal imagination and stretches its leaves towards the sky, to connect realms.
Phaune Radio goes vegetal with this 26′ minutes work, made out of the research for the vegetal revolution of Fabula Review, presented at the Théâtre de la Reine Blanche in Paris.
End of anthropocentrism, vegetal time and hybridisation of the reigns of the living, this piece is a tribute to everything that keeps growing.

PHAUNERADIO.com
PHAUNE RADIO is a little bug as curious and untameable as the strange sounds it airs 24h/7 on the world wild web and on on your mobile phones: soundscapes from the wider world, bald and hairy music, meetings with animals, archives from the future, eartoys….
Phaune Radio, it’s like night and day. More than 10 000 tracks for an handmade airplay : effervescent and tousled during the day, horizontal and experimental from 10:00pm (Paris Timezone).
phauneradio.com

Floriane Pochon
Thinks and writes with sounds. Searches, guesses, produces forms. Sound forms, hybrid forms, living forms but also forms of perception, transmission. Since 2013, has been breathing through and for Phaune Radio, a mobile webradio dedicated to acoustic ecology, radio arts and unheard-of music. A little bug as curious and wild as the strange sounds it airs 24h/7... Since 2014, has also been crossbreeding sonic and literary narratives with the writer Alain Damasio for the sound arts studio “Tarabust”. Since 2016, has also been growing audio ecosystems in Virtual Reality between Montreal and France. Exploration of suspended moments, populated silences, worlds to come or already there, all her works follow the wild thread of the living that vibrates: hybrid compositions, fictions, soundwalks, events and sound installations in unusual places …
mushin.fr

Elina Waage Mikalsen combines her voice raw, as instrument, and with words with electronics, her self-built instruments and field recordings to bring to life ghosts, or in the sámi context “underworld people”. Exploring the long history of erasure of sámi voices and stories in Norway, this new work brings a conversation with the dead to reveal the intentional gaps in historical narratives and restores connections to the past, whilst creating opportunities for the future A co-commission between Borealis Festival and Radiophrenia. Elina Waage Mikalsen is a multidisciplinary artist and musician from Tromsø in Northern Norway, currently living in Oslo. She works with performance, textiles, installation and text, in connection to sound and sound practice. Elina has her background in art and film, and was awared the title Young Artist of the Year at the international indigenous festival Riddu Riđđu in 2015. Since then she has participated in a number of group exhibitions and performance programmes. Elina’s artistic work is strongly intertwined with her Norwegian and Sami affiliations. The meeting point between these two cultures in her own family paints a picture of the power relations that haunt the society as a whole. In her work, this intimate view of society becomes a platform to explore themes related to identity and exclusion. In her sound work she often combines her voice with field recordings, electronics and self-built instruments to create sound spaces that sit somewhere between reality and fantasy. It is the emotional and narrative properties of sound that interests her, and how it can function as a time machine which causes time to collapse and sets both future and past in motion. https://elinawaagemikalsen.bandcamp.com https://soundcloud.com/elina-waage-mikalsen

“The visual image, the sound,and the meaning of words spoken are three separate things. The visual pattern is the flow of the film, the sound being a sort of counterpoint. Sometimes the visual image is predominant and the sound secondary. At moments the sound must be the most important thing. And sometimes where there is dialogue the very meaning of the words of dialogue may be, for instants, the primary thing, the sound of the voice secondary and the picture in the frame may be quite subordinate. But at each and all times the sound of course must not merely refer to the actual image seen at the same time.” (from Margaret Tait’s notebooks, 6th March, 1952, quoted in Between Categories: The Films of Margaret Tait: Portraits, Poetry (S.Neely, 2017)

Pomona is a collage of Margaret Tait’s reel to reel tape recordings, re-discovered in a box found in the library and archive, Kirkwall, Orkney.  The recordings were all made on a stereo UHER portable tape recorder with both mono and stereo microphones. The tapes date from the early 1970’s to the late 80’s and chronicle aspects of people, place and sound-marks of Orkney made with the purpose of being edited and eventually included on a optical soundtrack for one of Tait’s 16mm films.  The recordings document Orcadian customs, rituals and rites – including the news year day “Ba” game, agricultural shows, Johnsmas Foy, Armistice services, town-hall meetings, Church of Scotland hymns sung at St. Magnus Cathedral, children playing and migrating birds.

There are of course anomalies to these sound-types. For a period in the late1950’s/early 1960’s Margaret wrote and self-published a series of poetry books and short stories – the reels include rare examples of these being read out by Tait herself (including the poems Pomona, Historical Sense and Numen of The Boughs). There are also instrumental sounds – of fiddle playing and whistling –as well as recordings from the radio and TV.  

One Of my favourite tapes in the collection is a statement she recorded to be included in a BBC documentary (where she confesses a rather dismal view on the current state of Scottish cinema).  I use extracts from this and as many other recordings as possible, making a feature of the materiality of the analogue medium and its (in some cases) decay.  At times I have taken the liberty to use the tapes as raw material for sound sculpting on a Serge analogue synthesiser(which uses 4mm Pomona cables to make connections).  On these occasions I’m interested in emphasising the tones, rhythms or transient events found in the tapes – not to distract or obliterate the original materials – but to provide further light and shade to the montage.

I think that film is essentially a poetic medium and although it can be put to all sorts of other –credible and discredible – uses, these are secondary.

Margaret Tait, from “Film-Poem or Poem-Film”

with thanks to Sarah Neely, Mark Vernon and The Orkney Library and Archive, Kirkwall.

Margaret Tait (1918-1999)  was one of Scotland’s most important female independent filmmakers; she died in her home town of Orkney in 1999at the age 80. Tait made one feature film in her life (‘Blue Black Permanent’, 1992) but was best known for her short 16mm poem-films (or film-poems).After studying with Roberto Rossellini at the Centro Sperimentale film school in Rome (1950-52)she based herself in Edinburgh where she ran the Rose Street festival- rubbing shoulders with the likes of John Grierson, Hugh MacDiarmid, Sorley Maclean and Norman MacCaig.  She returned to her birthplace of Kirkwall ,Orkney in the late 60’s – which became the landscape and subject of the majority of her following films until her passing.

1. Toni Dimitrov - The Story of Utopias (10:01)
2. Marjorie Van Halteren - LIKE A MAGIC LANTERN (5:03)
3. Yati Durant -  Quiet Cities 9 :Edinburgh Leith Water of Leith 4pm 07.05.2020 (5:12)
4. Johnny Dixon - Remixed Poetry 5: Keep Your Filthy Track (1:44)
5. Marco Dibeltulu - La parolaagliartisti (6:00)
6. Lina Chang - 족보Jokbo (7:20)
7. Al Fraser/ Sam Leamy/ Neil Johnstone - Ghost Shark (4:49)
8. Ianni Luna - Ouvir Olhos (7:38)
9. Frederico Pessoa - Displacement (8:12)

1. Toni Dimitrov  - The Story of Utopias

The track is based on sound elements of natural environment. The field recordings base was recorded on various places in Macedonia, where I usually go for hiking and field recording. Post production and arrangement as a soundart piece is digitally made in software afterwards. The atmosphere corelates to the park environment and is meant to be listened to on headphones. The title relates to the book with the same title by Lewis Mumford.
 
Toni Dimitrov a multimedia artist, cultural producer, radio host,  curator, label owner, mountain climber and nature lover, that connects all these things with the love of music, sound art and field recordings. Working in the field of sound art and experimenting with electronic music for more than 20 years, and have even longer experience in the radio. Have been curving his way into the new experimental music/sound art scene with his solo engagement, bands and lots of collaborative releases, radio art and art installations.Curating the labels post global recordings and élan vital recordings.

2.  Marjorie Van Halteren - LIKE A MAGIC LANTERN

Current media malaise.

Four short pieces from an album I have been creating called “From My Lips to Odd Ears.”

The concept behind these works is that they are nearly entirely created from my own voice as electronic impulses, including synthesised short melodies from spoken phrases, some brut playing (such as on harmonica) and all manner of effects. Other sounds are “found,” such as news broadcasts.

Marjorie Van Halteren was born in Detroit, and lived for many years in New York City, where she was a poet, radio producer/director and commissioner of radio dramas and spoken word for WNYC Radio. She relocated to the North of France in the 1990’s, and has evolved into an electroacoustic composer and live improvisor. She sometimes broadcasts live from her Lille apartment on http://www.www.mixlr.com/eaps. http://www.electroacousticalpoeticalsociety.com.

3. Yati Durant - Quiet Cities 9 :Edinburgh Leith Water of Leith 4pm 07.05.2020 

Quiet Cities are live improvised sound art visualised field recordings from Edinburgh Leith/Water of Leith, UK at 4pm on May 5th 2020. The field recordings have been electronically altered slightly and each of them are different. “I walked around during a lockdown afternoon in May 2020 with my stereo field microphone. The city sounded strange to me…so quiet and subdued. These are free improvisations on the impressions I had at the time…”

http://www.yatidurant.com

4. Johnny Dixon - Remixed Poetry 5: Keep Your Filthy Track

5. Marco Dibeltulu- La parolaagliArtisti

The composition comes from the sound recordings made during the inauguration of the exhibition La ParolaagliArtisti (Sassari 2006). The theme of the event concerned criticism and art.Visitors have become occasional critics, but also “actors” of the composition.In the introduction the stamps obtained from the processing of the recorded sounds precede items. The verbal sense is not yet understood, then other voices burst and create a counterpoint much more clear in meaning. The composition emphasizes the independence of the creative act from the critical judgment.

Marco Dibeltulu (Alghero, 1971),studied at the Conservatory of Cagliari Composition, Choral Music and Electronic Music. His compositions have been selected in many competitions as 24th International Electronic Music Competition “Luigi Russolo” – Varese; CALL 2006 and 2013 – Federazione CEMAT, Rome; 6th International Computer Music Competition “Pierre Schaeffer” 2007 (1st Prize) – Pescara;360 degrees of 60x60 – Vox Novus, New York City; ICMC 2012 – Ljubljana; NYCEMF 2014, 2015 - New York City Electroacoustic Music Festival. He performed at Festivals:Synthèse – Bourges; Zeppelin 2008 – Barcelona; Audio Art Circus 2008 – University of Arts, Osaka; 60x60 Dance – Theatre Square, London; AKOUSMA XV - AKOUSMA_INTERNATIONAL – Montréal.

6 Lina Chang - 족보Jokbo  

족보 (Jokbo) is a compilation of dream sequences, memories and voices that are based on my family tree - hailing from the Korean traditional practice of genealogy books. Fragments of people from my own family that I’ve never met and from those that are present in my life are recollected through audio notes detailing my dreams of them over the course of the year, and through EVP recordings. The audio sequences will be generated randomly in the live performance, and broadcasted through HAM radio.

Lina Chang is a radio maker that works with sound as embedded memories in the form of digital and electronic traces. Using radio wave frequencies, memory is carved and inscribed into our ears and through the listening experience. Working with oral history techniques, she utilizes the unique quality of time and space that archival tape houses and transcribes them into her audio pieces.

7. Al Fraser /Leamy/Johnstone - Panthalassa
https://genredefying.bandcamp.com/album/panthalassa

8. Ianni Luna - Ouvir Olhos
 
Listening occurs as a relational event, an enhancer of meanings and a reconfigurator of sensations and spaces. In this work, field recordings are artificially manipulated through editing software, being then able to dismantle linear temporal notions, proposing narratives of an imagined Other, on the frontier between art and fiction.

This work was generated from material collected for seven days in the city of Olhosd'Água de Goiás during an artistic residency at NACO (Centro de Arte do Centro-Oeste) and is part of the permanent collection of the National Museum of the Republic.
Ianni Luna is an artist and musician with a Phd in Art and Technology from the University of Brasilia, with a research focused on Sound Art. With a poetic practice situated in the sonic-visual spectrum, her preferred media are video, sound installations and performance. More info: https://ianniluna.net/

9. Frederico Pessoa - Displacement

The work addresses the relentless mining action, the basis of neo-colonialism and neo-extractivism that defines the capitalist scenario in the global south. The song is made up of pieces from the recordings of Vale S/A locomotives passing under my window all night long.
 
Frederico Pessoa is a brazilian sound artist and musician who has been presenting solo and group exhibitions, sound and multimedia performances and working with other artists in different projetcs and languages.He has studied classical guitar and has a PhD in Arts from the Federal University of Minas Gerais. He is interested in the relations between sound and politics; sound and other artistic languages; sound, body and space; simple technologies and the vibrational aspect of day to day life and its effects on our bodies.

radio cegeste .--. .-.. .- --. ..- . / -.-- . .- .-. (plague year) .--. .-.. .- --. ..- . / -.-- . .- .-. (plague year) is a thirty minute edit of a fifteen part live transmission artwork that ran as a radio serial from 11-25 September 2021, as part of State of Disaster, a temporary public art project conducted within the bounds of a single geographic postcode, 3031, in Melbourne, Australia, while the inhabitants of the city were under curfew, in the midst of the longest pandemic lockdown in the world. Microcast over local airwaves on the frequency 104.5FM, the serial was a daily poetic reworking of Daniel Defoe’s A Journal of the Plague Year (1722), written as a first-hand account of the last epidemic of bubonic plague in London in 1665. Drawing on local pandemic statistics as a prompter for a daily algorithmic re-reading of the text, each morning, the number of positive local Covid-19 cases and the number of days the city had been in lockdown were triangulated. This mechanism was then used in selecting and producing a double-reading of a Defoe passage, as voice and morse code. Each episode was then transmitted between the hours of 6:00 - 9:00PM as an intervention into the local airwaves, on a hand-built micro-FM transmitter. A homage to the aesthetics of clandestine wartime radio broadcast, .--. .-.. .- --. ..- . / -.-- . .- .-. (plague year) it also counts among its influences the proto fake-news panic of Orson Welles’ October 30, 1938 broadcast of War of the Worlds, and the underworld transmissions of Edouard Dermithe's character of Jacques Cégeste in Jean Cocteau’s 1950 film Orphée.

Quero ir is a music work for soprano and fixed media, which uses the homonymous poem by the soprano Beatriz Ramos - the same one that did the interpretation we hear here. The sounds of spoken, sung and whispered voices present in electronics came from recordings of the poem made with Beatriz. The use of these recordings is crucial for the work's universe, where the electronics and the singer are offshoots of each other, making so ambiguous which one is the origin that we can assume they are only one. 

Ema Ferreira is a Portuguese composer and multimedia artist, with special interest in electroacoustic music, image-sound relationship and interactivity in the audio and audio-visual context. She is currently artist-in-residence in the European project IMPROVISA – Life in Motion. Until the date. her works and projects have been presented in Portugal, Sweden, Mexico and in the United States of America. In the academic year 2021/22 Ema is going to simultaneously start the Master in Composition at ESMAE – IPP and the Master in Interactive Systems and Media at Escola Superior de Media Artes e Design (ESMAD - IPP).

https://linktr.ee/EmaFerreira

 ‘M as in my, medium-density, machine, movements, make, more, moods, maybe, millions, meaning, much more, mm, to move on…’ – A live-piece in sort of a sculptural setting at CCA Glasgow for Radiophrenia

 In sort of a sculptural setting, a lyric-like script produced live meets field recordings, words, sound pieces and soundscapes of noises produced and listened to in work environments — an echo between objects, materials, bodies, texts, tools, devices and movements constructing a conversation between visual artists with various sculptural approaches.

 A group of visual artists and a feminist welding collective contribute their sonic experiments, fragments, notes, thoughts as well as sound pieces produced, collected or casted in and outside of their workshop or studio habitat. The accumulation of the contributions is a shared haptic and tactile approach to sound and language as a sculptural material as well as a passion for experimental sound experiences in a three-dimensional world.

 In the live studio performance, Debbie Young and Yulia’s performance follow the process of constructing some-thing together. They move their muscles, materials and mouths, whisper technical tips to each other and talk about their curiosity in tactile moments. Debbie and Yulia present the contributions by MV Brown, Ella CB, Fionn Duffy, Lotte Meret Effinger, Lisa Fabian, Julia Gerke, Anne-Louise Hoffmann, Theresa Lawrenz, Aga Paulina Młyńczak, Sarah Reva Mohr, Susanne Schmitt, Katerina Sidorova, Mira Siering, Emilie Peyre Smith, Slaghammers, Catharina Szonn, Joëlle Pidoux and Kate Theodore as both an acoustic backdrop and as material, listening and sampling the contributions throughout the performance.
 
Concept  – Julia Carolin Kothe
Installation – Julia Carolin Kothe + Debbie Young feat. Studio Mama
Performers – Debbie Young + Yulia 

Contributors –  MV Brown, Ella CB, Fionn Duffy, Lotte Meret Effinger, Lisa Fabian, Julia Gerke, Anne-Louise Hoffmann, Theresa Lawrenz, Aga Paulina Młyńczak, Sarah Reva Mohr, Susanne Schmitt, Katerina Sidorova, Mira Siering, Emilie Peyre Smith, Slaghammers, Catharina Szonn, Joëlle Pidoux, Kate Theodore
Technical support – Radiophrenia and CCA: Glasgow
 With thanks to Radiophrenia, CCA: Glasgow, Ella Appleton, Amelia Bywater, Alan Kean, Studio Mama as well the contributors!
 
Supported by Visual Artist and Craft Makers Awards (VACMA) in partnership with Creative Scotland.

A sonic essay by Ayşe Köklü, based on the novel “Bitter in the Mouth” by Monique Truong (https://monique-truong.com/), published by Chatto & Windus in 2010.

In the novel “Bitter in the Mouth”, published in 2010, Vietnamese-American author Monique Truong, weaves the main character Linda’s navigating of her identity and ways of being and knowing in the world (i.e. coming of Vietnamese racial heritage in the context of Post-Vietnam War American South, as well as her neuro-divergency), with the associations she can’t help but make between words and the tastes.

The novel manages to convey multiple realities simultaneously present, but not always visible,  specifically from the point of view of the “norm.” The reader feels very close to Linda, as Truong puts down how each word tastes like for her using italics at the end of the words, however the reader realises that nobody else knows this. This approach has been interpreted as the refusal to “neoliberal multiculturalism’s demand for authenticity via visible racial difference…”, which I find totally inspiring.

After doing some research, I found that these associations were never interpreted in any other artistic form, especially sonically, and interestingly it is only when words are heard with music, that Linda can have a rest. Therefore the show is meant to provide Linda’s experience, and give her a bit of a rest,  as most words and troubling situations from the book are turned into some sort of sonic cacaphony which might at times be called music(wherever—if—I managed to!)

Ayşe Köklü is an artist-educator researcher, interested in exploring and experimenting with creative modes of social communication. I find that translation (or ms translation) usually enables a fruitful ground to do so, since one can enter a difficult topic through a side entrance, in a creative and playful manner. I have been running an independent online radio show called Ms Translation, which has been exploring various social and political issues using music and translation. Linda’s rest is the latest iteration of this body of work.

Credits:

Berk Icli —  "Pythagorean Interlude”,”Postlude”, "Rite de Sortie” from the album “Glimpses of an Eternal Bloom” published by Zel Zele Records, 2021
Isao Tomita — Bolero, MCPS
Snowpaw Wolf — Better Off Alone
‘Meet the Maker: Red Bridges Barbecue Lodge’ (https://www.youtube.com/watch?v=tKcUKuxSM5g&t=34s
Yale Courses — Contractual Law, https://www.youtube.com/watch?v=bW0c0DvFq_Y&t=393s

Splenectomy is a sequence poem written and read by Eloise Birtwhistle, a Glasgow based poet, with accompanying audio created by Adam Cavanagh, a musician and sound designer also based in Glasgow.

The piece Weimarer Landklänge 2020 deals with several recordings of spaces that were made during spring and summer 2020 in the thuringian district »Weimarer Land« (Germany). The piece is characterized by different places (e.g. bell museum Apolda, a »wind turbine orchestra«, a summer toboggan run, insects and other animals, sounds from a knitting mill and a brewery, …). wlk2020.timhelbig.de // timhelbig.de The work was commissioned by the tourism association "Weimarer Land Tourismus e.V.“. Tim Helbig (*1985, Jena / Germany) Since he began studying Media Art and Design at the Bauhaus University Weimar in 2008, Tim Helbig`s works have dealt with designing and realizing sound installations, electroacoustic compositions and live improvisation concerts. 2012 – 2014 he has been studying electroacoustic composition at SeaM Weimar with Prof. Robin Minard. Since 2015 he is artistic assistant at SeaM Weimar (University of Music Franz Liszt, Bauhaus University Weimar). His work in the area of live performance is focused on playing self-developed electroacoustic instruments in multi channel environments. just for your interests, here you find a brief listing of sections of the piece: 00:00 – 02:20 min. Apolda, Market, Luther Church Bell 02:20 – 03:50 min. Meadows and steps, Steps in the Ilm near Ulrichshalben 03:50 – 06:34 min. Wind turbines near Eckolstädt 06:34 – 09:08 min. Textile production of the company "StrickChic". 09:08 – 10:10 min. Steps, bicycle, traffic (in front of Glockenmuseum Apolda) 10:05 – 13:05 min. Bell museum Apolda 13:05 – 13:42 min. Bell museum 12 o'clock chimes of various tower clocks (churches, town halls) of the district 13:42 – 14:26 min. Carillon, Sophienklinik Bad Sulza („Die Gedanken sind frei“) 14:26 – 15:41 min. Steps in Ilm, meadows near Tannroda 15:41 – 17:46 min. Summer toboggan run, Eckartsberga 17:46 – 19:12 min. Insects, meadow near Eberstedt 19:12 – 20:04 min. Outdoor pool Apolda, Outdoor pool Bad Sulza 20:04 – 21:45 min. Kneipp facility, Bad Sulza Elisabeth Merschdorf plays the Steinway grand piano at the Kulturgut Ulrichshalben (Carl Cerny : "From the art of dexterity in F major) 21:45 – 25:02 min. Luther Church Apolda, steps over floorboards in the church, Michael von Hintzenstern makes the organ sound in Denstedt Bell of the Luther Church, Apolda 25:02 – 25:54 min. Ringing of the ev. church St. Marien, Bad Berka 25:54 – 28:38 min. Organ rehearsal, listened from outside, Ulrichshalben church passing car, Concert recital in the church of Ulrichshalben (J.J. Quantz : Flute concerto in G major, 2nd movement), organ: Mrs. Merschdorf, flute: Elisabeth Merschdorf 28:38 – 30:30 min. Combine harvester, farmer, Darnstedt 30:30 – 33:39 min. Apolda club brewery 33:59 – 36:16 min. Steps on the Ilm, Passing ICE (near Krautheim) conversations in open-air museum Hohenfelden, charcoal, fire

1) Limbo Tapes - Imagine The Possibilities (21:44)



1) Limbo Tapes - Imagine The Possibilities (21:44)
 

 
 







 

1. Joanne Matthews - For Portobello, 2050 (20:03)
2. Marco Dibeltulu - Quadri degli elementi (9:02)
3. Rick Myers - Obstacle #69: Sentences in a Magnetic Field 02 (6:52)
4. DiscountGnostic - Too Many Family Favourites (Rostov! Where is he?) (2:40)
5. Phaune Radio - EARIGAMI #1 (17:19)
6. Johnny Dixon - Pill Pieces 10 (0:58)

1. Joanne Matthews - For Portobello, 2050
 
Scientific estimates indicate that large sections of Portobello will be underwater by 2050. For Portobello, 2050, is a sound work that conjures a location to witness and meditate on the vulnerability of the human species. Created using sounds collected from Portobello beach alongside vocals, this intimate sound work creates a space to dwell on the past and project into the coming future of wet marshes, storm surges and salty soils as the sea rises.For Portobello, 2050 was originally commissioned by Art Walk Porty Festival 2021, for Joppa Bandstand in Portobello, Edinburgh.

Joanne Matthews is an artist from Brighton, based in Edinburgh, working collaboratively across performance, audio, video, installation, photography and drawing. She conducts embodied fieldwork, rooted in place, creating gestural works of art. She’s interested in leaning into, and finding hope in, the darkness of the ecological crisis and the inseparable links between nature and culture. Her work is intimate, capturing the complexities, emotions and personal feelings she has of a place or idea and tells a ‘story’, often with humour, confusion, eeriness and sensuality.

2. Marco Dibeltulu - Quadri degli elementi

The composition, commissioned by Amici della Musica di Cagliari, has a didactic purpose and is divided into four different parts inspired by air, water, earth and fire. The four elements have been associated with instrumental sections and different musical genres. Each section is made up of two different parts: one is made of natural sounds recorded in the framework of the project “Erasmus Plus - The soundscape we live in”, the other one is made of sounds produced from musical instruments played by some students of the Liceo Musicale “D. A. Azuni” of Sassari (S.Cossu, G.Fais, F.Foddai, F.Pintus, N.Roggio, E.Serra).

Marco Dibeltulu (Alghero, 1971), studied at the Conservatory of Cagliari Composition, Choral Music and Electronic Music. His compositions have been selected in many competitions as 24th International Electronic Music Competition “Luigi Russolo” – Varese; CALL 2006 and 2013 – Federazione CEMAT, Rome; 6th International Computer Music Competition “Pierre Schaeffer” 2007 (1st Prize) – Pescara;360 degrees of 60x60 – Vox Novus, New York City; ICMC 2012 – Ljubljana; NYCEMF 2014, 2015 - New York City Electroacoustic Music Festival. He performed at Festivals: Synthèse – Bourges; Zeppelin 2008 – Barcelona; Audio Art Circus 2008 – University of Arts, Osaka; 60x60 Dance – Theatre Square, London; AKOUSMA XV - AKOUSMA_INTERNATIONAL – Montréal.

http://www.marcodibeltulu.it          https://www.youtube.com/watch?v=JFhLq3k-V34
 
3. Rick Myers -Obstacle #69: Sentences in a Magnetic Field 02
 
Performed and recorded using a two channel microphone held with one channel in each hand in such a way that my elbows exerted pressure on my lungs while the alternating movement
of my left and right hands and forearms and the resulting panning in the recording and syncopation of my voice were modulated in real time by the text score + tape and magnetic fields. 

rickmyers.co.uk

4. DiscountGnostic - Too Many Family Favourites (Rostov! Where is he?)

I remember a particularly intense asthma attack as a child of ten during which I was sedated, and I can still recall how the sun filtered through the curtains and how the shimmering patterns on the living room carpet triggered a reverie. I found myself engulfed by ambient noise and a bewildering sense of disembodiment as I passed through the walls of the house rising upwards. ‘Too Many Family Favourites’ is my attempt to (re)remember the onset of that experience and uses found sounds, field recordings and acoustic improvisation in its construction.

DiscountGnostic (Chris Hill)

I perform regularly in London as an improviser and promote sound art and free music events under the banners ‘DiscountGnostic’ and ‘Babble&Squeak’ among others. The focus of my composed work is sonic itinerancy; wanderings through time and place, real and imagined, to unearth what may (not) have been. As a performance vehicle DiscountGnostic draws upon the delinquent possibilities of sound as a metaphysical tool and engages with sound production as a ritual act to explore both light and shadow.

discountgnostic.bandcamp.com

5. Phaune Radio - EARIGAMI #1

As our island of knowledge grows, so does the shore of our ignorance.
― John Archibald Wheeler
Just as a matter of never forgetting again the scent of the earth, the shimmering curls of the winds, the buoyant reflections of the flowing waters, the wisdom of the wild grasses, the patience of the clouds.
Simply, for that, Phaune Radio takes the time to make way: capturing the forces present and search for a dazzling opening of the horizon. Together, for even an instant, the space of a sound moment made of passages and folds, listening to what begins and what ends.
—–
PHAUNERADIO.com
PHAUNE RADIO is a little bug as curious and untameable as the strange sounds it airs 24h/7 on the world wild web and on on your mobile phones: soundscapes from the wider world, bald and hairy music, meetings with animals, archives from the future, eartoys….
Phaune Radio, it’s like night and day. More than 10 000 tracks for an handmade airplay : effervescent and tousled during the day, horizontal and experimental from 10:00pm (Paris Timezone).
phauneradio.com

Floriane Pochon
Thinks and writes with sounds. Searches, guesses, produces forms. Sound forms, hybrid forms, living forms but also forms of perception, transmission. Since 2013, has been breathing through and for Phaune Radio, a mobile webradio dedicated to acoustic ecology, radio arts and unheard-of music. A little bug as curious and wild as the strange sounds it airs 24h/7... Since 2014, has also been crossbreeding sonic and literary narratives with the writer Alain Damasio for the sound arts studio “Tarabust”. Since 2016, has also been growing audio ecosystems in Virtual Reality between Montreal and France. Exploration of suspended moments, populated silences, worlds to come or already there, all her works follow the wild thread of the living that vibrates: hybrid compositions, fictions, soundwalks, events and sound installations in unusual places …
mushin.fr

6 Johnny Dixon – Pill Pieces 10

An improvised piece based on a random track found on a vinyl Reader's Digest collection of music from the 1940's played back through an excised Audiotronics 304E elementary school record player from the 1960's. Specific source track is "My Heart Tells Me (Should I Believe My Heart?)” by Glen Gray and the Casa Loma Orchestra (Eugenie Baird, vocal). Manipulation tools used were a Korg Kaoss Pad (v. 3) and a TC Electronic Ditto Looper. Created in the hours straddling June 1 and June 2, 2020. 

Attorneys General is a project led by Matthew Byars of DC-based band The Caribbean. A formative experience for Byars as a listener was hearing the work of soundman Martin Swope of Mission of Burma on their seminal 1985 live record, The Horrible Truth About Burma, in which Swope, using a reel- to-reel tape machine, captured, looped, manipulated, and destroyed elements of the band’s sound in spontaneous and unexpected ways. Byars has adapted this approach to live performance scenarios, but also to obscure vinyl recordings, as demonstrated on “If I’m Fool Enough to See This.”

http://attorneysgeneral.space

This work is composed of analogue material recorded in the early 80’s reimagined with recent field recordings in 2021. The work maintains the presence of looped tape material and field recordings are processed via spectral filtersuntil eventualy only the spectural shifts are present. It explores the relationships between the movements of the environmental sounds and the materiality of the processed audio. How do you listen? Position yourself in stillness. facebook/bellartlabs bellartlabs.com https://sites.google.com/view/acoustic-landscapes/home

T.S. Eliot's The Waste Land has been taken on a 100th anniversary Covid-19-safe World Languages Tour on Google Translate to mangle the words of the original and retaining the structure to produce a new, complementary poem in the spirit of the original. Thanks to readers Helen Montgomery and T S Quevedo Dixon.

Jim Colquhoun and Jamie McNeill have been walking out into denuded landscapes and talking shite for over twenty years now. Usually a camera is turned on accidentally in someones pocket and their cod-psychogeographical (emphasis on the psycho) drivel is captured through sheer incompetence. The fractured, purposeless and ill-considered invective is frankly embarrassing and putting some kind of awful didgeridoo-a-like pan pipes over the top was/is a risible idea which nevertheless has a certain rough charm! They share a passion for landscapes that others might consider marginal at best and have a predilection for a certain kind of open-ended poetics carried out in situ using whatever broken bits of language or technology come to hand. For Radiophrenia they want to knit together a long skein of historical recordings into one vast directionless audio drift that somehow fails to encapsulate decades of tramping around a bog somewhere in the depths of (usually) North Lanarkshire. Join them as they mutter over mushrooms, talk to the animals, fondle the stones, take luncheon amidst a bog, howl in a tunnel, lose themselves then find themselves again and take stock of the changing nature of landscape in places that quite literally repel your average rambler. So, a collage of inane chatter, warped soundscapes, weather, squelchy field recordings and Moor ore. Jamie McNeill and Jim Colquhoun have collaborated on several projects including a previous Radiophrenia live broadcast repurposing the writings of John Buchan. They have also produced combined texts generated from a mixture of prepared and found material, most recently for the ‘Dostoyevsky Wannabe Cities’ series (forthcoming). They also had a long-running sound/music/improv project called ‘Widowzzz’ featuring Jim’s six/seven/eight year old daughter Una on vocals which featured, along with assorted ephemera, in their project ‘Pwdre Ser’.

1. Radio Limbo presents... The Short Wave Ghost Ensemble    Sing Along With Us    1:23
2. Iain Armstrong - Holiday At Home (20:42)
3. Julia Calver - Accidence (5:35)
4. Oscar Prentice-Middleton  - hangOnhangOnha (5:15)
5. Steven George Jones - AT THIS TIME (9:05)
6. Robert McClure - syn (10:21)
7. Laura Romero Valldecabres - Mass (4:44)

1 Radio Limbo presents... The Short Wave Ghost Ensemble - Sing Along With Us

https://limbotapes.bandcamp.com/album/24-hours-in-radio-limbo 

2. Iain Armstrong- Holiday At Home

Composed in the summer of 2021 while some were taking a gamble on a foreign holiday, I decided it wasn’t worth the risk and would instead ‘holiday at home’. This soundscape presents a selection of sonic souvenirs from my pre-covid travels that I hope will transport you to some foreign shores, even if you are still stuck at home. Our trip will include a marina in the Azores, temple celebrations in Singapore and Italian church bells. After a rainy afternoon in rural India and a Birmingham busker, a Bangkok river boat drops us off at Bordeaux train station before a final stop at the Cathédrale Saint-André. 

Iain Armstrong is a composer and sound designer based in Birmingham, UK. He is interested in exploring the creative potential of recorded sound and encouraging people to engage in the act of listening. His work is presented internationally and spans music and sound design for theatre, dance, and film; experimental electronic music; multi-channel sound installation; site-specific soundwalks; podcasts, phonography and live performance.

3. Julia Calver - Accidence
 
 ‘Accidence’ is a linguistic term, describing how the structures of tense, person and number change the shape of words. This piece for voice, and accompanying cracks and claps, works on accidence as a grammatical encoding of its homophone ‘accidents’ and on accidents’ connoted violence.  Accidence finds radio is a site where homophonic resemblance holds a particular attention, unresolved by the disambiguation spelling provides in written works.
Accidence was commissioned by Book Works, for The Happy Hypocrite – Without Reduction, issue 12, 2021, edited by Maria Fusco and originally broadcast 25 September 2021 by Book Works and Resonance Extra.

Julia Calver is an artist and writer working with experimental linguistic morphologies. She is undertaking a practice-based PhD at Sheffield Hallam University. Recent publications include works in The Happy Hypocrite, issue 12;On Care and Setting a Bell Ringing published by MA BIBLIOTHÈQUE; and Inscription: The Journal of Material Text (with The Roland Barthes Reading Group). In 2021 she co-organised oHPo radio, a space for the art school at Sheffield Hallam University.
 
4. Oscar Prentice-Middleton - hangOnhangOnha 

A short and dreary compilation of acousmatic media and snatches of audio from aspiring compositions best heard once and never again.

Living in Glasgow. Recent graduate of Sound For the Moving Image MDes at GSA. My work is often the result of looking around for the sorts of tools that were used for knowledge creation. Can’t find them anywhere.     https://oscarprenticemiddleton.co.uk

5. Steven George Jones - AT THIS TIME

AT THIS TIME is a somnambulistic deconstruction of the automated telephone options presented when calling the Aneurin Bevan University Health Board Covid-19 helpline in South Wales.

Steven George Jones is a sound, performance and visual artist based in Newport, South Wales.
 
6. Robert McClure - syn
 
syn (2021) is four short movements centered on an imagined future world where synthetic beings have become the prevalent species. Digital has become the new religion. Any yearning for the distant past organic way of life is shut down. The work follows a synthetic being, SB-1021, and their “sins” against this new culture such as stopping progress in the machine of production (i. corpora), imagination (ii. intima), and developing self-expression (iii. loquere) before their eventual punishment and termination (iv. viscera) as they are torn apart from the inside out.

Robert McClure’s music attempts to discover beauty in unconventional places using non-traditional means. His work has been featured at festivals including NYCEMF, Beijing Modern Music Festival, ISCM, TIES, SEAMUS, and ICMC. His works may be found through ADJ•ective New Music, Bachovich Music Publications, Resolute Music Publications, and Tapspace Publications as well as on ABLAZE, Albany, and New Focus Record labels. Robert received his doctorate from Rice University’s Shepherd School of Music. Robert has previously held positions at the Shanghai Conservatory of Music and Soochow University in Suzhou, China. He serves as Assistant Professor of Composition/Theory at Ohio University.

7. Laura Romero Valldecabres - Mass 

 “Mass” (Masa) is a sound collage made with feld recordings from my personal archive along with a free adaptation of the poem “Masa”, by César Vallejo (Peru) and the expanded violin by Alexandre Sacha Sakharov (France). This audio piece is part of the compilation project “New Chronologies of Sound”, a collection of sound works based on field recordings, that proposes to generate a sonic debate around the emergence of a new perceived time axis due to the global pandemic landscape. A research study published in 2018 revealed that sound waves carry mass, in particular, negative mass (Esposito, Krichevsky, Nicolis). This mass, in the presence of a gravitational feld, such as that of the Earth, forces its trajectory upwards. Sound waves would therefore be a form of antigravity. These ideas made me think about the absence of those gravitational and vibrational fields. During 2020, these sound waves have disappeared or decreased due to the pandemic situation: sounds of people gathering, choirs, protests, noise of enthusiasm and euphoria, the big and small concerts, even the funerals in community. I miss this crossed map of crowds in unison, a diverse, porous and powerful multiple unison. I began to rescue those mass vibrations from my personal recordings, reliving and following what Séan Street refected in The Sound of a Room: “With sound, I am reimmersed in the moment, living it again through the time it took to happen in the first place. It is that slow revelation of identifcation that is an essential part of the experience of a recording, setting it in the memory”. 
 https://www.radiorueda.com/?members=laura-romero-valldecabres

MAiSIE

‘Multisensor Airborne Sea Ice Explorer’ (MAiSIE) is a global ice movement data-gathering device. My MAiSIE proposal for Radiophrenia is a live broadcast of a large block of ice melting, livestreamed using hydrophone/geophone microphones.

Commenting on the current state of our planet, I am interested in amplifying tiny nature sounds, to reveal their inherent musicality. This recording requires intense, surrendered listening as the mock iceberg speaks for itself with squeaks, creaks, clunks, blowing kisses, releasing gasses which force out rapid water spouts with thuds and crunches as it melts and starts to move around. The sounds are endlessly diverse and beautiful.

Bio:

I work in a technical role as a sound engineer for radio and music, including freelance and BBC work. Following a PhD completed in 2020 on the electroacoustic sound-making history of four women composers from the pre-digital era of 1960s – 70s, (Delia Derbyshire, Beatriz Ferreyra, Éliane Radigue and Teresa Rampazzi), I have started to develop my own creative sound art practice, which focuses on recording and manipulating natural and mechanical sounds. I have also started to contribute articles and reviews for The Wire and Electronic Sound. 

https://www.johutton.com/projects
https://soundcloud.com/jo-hutton
http://liminalities.net/16-2/abstractionofhome.html

MAiSIE

‘Multisensor Airborne Sea Ice Explorer’ (MAiSIE) is a global ice movement data-gathering device. My MAiSIE proposal for Radiophrenia is a live broadcast of a large block of ice melting, livestreamed using hydrophone/geophone microphones.

Commenting on the current state of our planet, I am interested in amplifying tiny nature sounds, to reveal their inherent musicality. This recording requires intense, surrendered listening as the mock iceberg speaks for itself with squeaks, creaks, clunks, blowing kisses, releasing gasses which force out rapid water spouts with thuds and crunches as it melts and starts to move around. The sounds are endlessly diverse and beautiful.

Bio:

I work in a technical role as a sound engineer for radio and music, including freelance and BBC work. Following a PhD completed in 2020 on the electroacoustic sound-making history of four women composers from the pre-digital era of 1960s – 70s, (Delia Derbyshire, Beatriz Ferreyra, Éliane Radigue and Teresa Rampazzi), I have started to develop my own creative sound art practice, which focuses on recording and manipulating natural and mechanical sounds. I have also started to contribute articles and reviews for The Wire and Electronic Sound. 

https://www.johutton.com/projects
https://soundcloud.com/jo-hutton
http://liminalities.net/16-2/abstractionofhome.html